North Carolina Music Educator Journal Spring 2025

N O R T H C A R O L I N A

M US I C E D U CAT O R

Volume 75 Number 4 Spring 2025

Extracurricular

String Ensembles

by Jennifer P. Aikey

An Introduction to

Computational

Thinking in the

Music and Arts

Classroom

by Scott Laird

Putting Standards

Into Practice

by Brandon Roeder

Building Your Jazz

Ensemble Can’t Be

Improvised

by David Robinson

Sustaining Your

Sound: Vocal

Health for Music

Teachers

by Casey Collins

A Case Study of

Popular Music

Teacher Educators

by Raychl Smith &

Jacqueline Secoy

The official

publication

of the

NORTH CAROLINA MUSIC EDUCATOR | 1

East Carolina University®

School of Music

BOARD DIRECTORY

EXECUTIVE DIRECTOR’S MESSAGE

PRESIDENT’S MESSAGE

FEATURES

2

4

6

12

18

26

34

38

44

48

52

It’s All Downhill from Here… or is it?

Angel Rudd Cuddeback

Putting Standards into Practice: The 16 SCOS Throughlines in the Classroom

Brandon Roeder

Sustaining Your Sound: Vocal Health for Music Teachers

Casey Collins, Ph.D.

A Case Study of Popular Music Teacher Educators

Raychl Smith, Ph.D. & Jacqueline Secoy, Ph.D.

An Introduction to Computational Thinking in the Music and Arts Classroom

Scott Laird

Building Your Jazz Ensemble Can’t Be Improvised

David Robinson

Extracurricular String Ensembles: Enriching Your Program and Engaging Your Community

Jennifer P. Aikey

SoundForge: A Popular Music Collective

Jonathan Kladder

Apply and Audition for

Scholarship Consideration

• Saturday, Dec. 13, 2025

• Saturday, Jan. 20, 2026

• Saturday, Feb. 14, 2026

• Saturday, Feb. 21, 2026*

SECTION UPDATES

Brevard College 15

East Carolina University

Inside front cover

Hayes School of Music 17

NAfME

Back cover

Music & Arts 29

8

10

16

24

25

31

33

42

51

High School Choral Section

Higher Education Section

Jazz Section

Orchestra Section

Across the Districts

Band Section

Collegiate Section

Elementary Section

Middle School Choral Section

Advertisers

A special thank you to all our advertisers who support music educators and music education in North Carolina.

NC Music 29

NC State University 4, 41

UNC Charlotte 5

UNC Greensboro 29

UNC Pembroke 7

Editorial Board

UNC School of the Arts 29

UNC Wilmington 9, 43

Western Carolina University 23

Editorial: All editorial content should be

Catherine Butler

Tracy Humphries

Email for more information:

sent to: Cynthia Wagoner, editorial board

cbutler@ncmea.net

tracy.humphries@ucps.k12.nc.us

musicadmissions@ecu.edu

• Saturday, March 28, 2026

chair, at editorial_chair@ncmea.net.

Andrew Dancy

Kimberly Justen

dancya@gcsnc.com

journal_editor@ncmea.net

Visit us online:

*Last audition day for scholarship consideration Advertising: Information requests and ad

James Daugherty

Carolina Perez

music.ecu.edu

orders should be directed to Kimberly

jdaugherty@ncmea.net

cperez@ncmea.net

Justen, editor-in-chief, at

journal_editor@ncmea.net.

Joseph Girgenti

José Rivera

ADA Accommodation: 252-737-1018 or ada-coordinator@ecu.edu

j.girgenti@wingate.edu

jose.rivera@uncp.edu

ECU is located in Greenville, North Carolina

North Carolina Music Educator is copyrighted.

Reproduction in any form is illegal

jhamiel@ncmea.net

editorial_chair@ncmea.net

Johnathan Hamiel

Cynthia Wagoner

An equal opportunity/affirmative action university

C.S. 23-0941

without the express permission of the editor.

Susan Heiserman

Lindsey Bruner Woodcock

sheiserman@ncmea.net

lbrunerwoodcock@meredith.edu

2 | NORTH CAROLINA MUSIC EDUCATOR NORTH CAROLINA MUSIC EDUCATOR | 1

NCMEA Board of Directors

Executive Officers

Section Chairs

Commission & Committee Chairs

Standing Committee Chairs

President: Catherine Butler*

cbutler@ncmea.net

Immediate Past President: Johnathan Hamiel*

jhamiel@ncmea.net

President-Elect: Carolina Perez*

cperez@ncmea.net

Recording Secretary: Cynthia Wagoner*

secretary@ncmea.net

Member-at-Large: Michael Henderson*

member-at-large1@ncmea.net

Member-at-Large: Demeka Kimpson*


District Presidents

District 1: Molly Griffin-Brown*

district1@ncmea.net

District 2: Michael Palmer*

district2@ncmea.net

District 3: Shearon Miller*

district3@ncmea.net

District 4: Vacant*

district4@ncmea.net

District 5: Ronald Forsh*

district5@ncmea.net

District 6: Douglas Rowe*

district6@ncmea.net

District 7: Andrea Evans*

district7@ncmea.net

District 8: Anna Morris*

district8@ncmea.net

Band: Chris White*

band_chair@ncmea.net

Band Section Delegate: Steven Kelly*

band_delegate@ncmea.net

Collegiate NAfME: Cris Lim*

collegiate_president@ncmea.net

Elementary: Jeannine DuMond*

elementary_section@ncmea.net

High School Choral: Jenny Patchett*

hschoral_chair@ncmea.net

Higher Education: Fred Spano*

higher_education@ncmea.net

Jazz Education: Matt Howard*

jazz_chair@ncmea.net

Jazz Section Delegate: TBD*

jazz_delegate@ncmea.net

Middle School Choral: Angel Rudd Cuddeback*

mschoral_chair@ncmea.net

Orchestra: Veronica Biscocho*

orchestra_chair@ncmea.net

Orchestra Section Delegate: Corrie Tew*

orchestra_delegate@ncmea.net

Awards, Grants & Scholarship Chairs

Awards: Michael Henderson


Grants Co-Chairs:

Michael Henderson


Demeka Kimpson


Scholarships: Demeka Kimpson


* Voting Member

Conference Chair: Barbara Geer

conference_chair@ncmea.net

Asst. Conference Chair: Adam Joiner

conference_assistant@ncmea.net

Exceptional Children & General Music:

Rue Lee-Holmes

exeptionalchildren_generalmusic@ncmea.net

Guitar: Jonathan Todd

guitar@ncmea.net

Mentoring: Carol Earnhardt

mentoring_program@ncmea.net

Music In Our Schools Month Co-Chairs:

Tonya Allison

miosm_chair1@ncmea.net

Lindsay Williams

miosm_chair2@ncmea.net

Music Program Leaders: Christy White

music_program_leader@ncmea.net

Piano: AmyBith Gardner Harlee

piano@ncmea.net

Popular Music Education Co-Chairs:

Jonathan Kladder

popular_music@ncmea.net

Andrew Beach

popular_music2@ncmea.net

Research: Jonathan Poquette

research_chair@ncmea.net

Retired Membership: Heidi Sue Ross

retired_membership@ncmea.net

Student Activities: Carolina Perez

cperez@ncmea.net

Technology Chair: Mindy Cook

technology_chair@ncmea.net

Tri-M: Andrew Dancy

tri-m@ncmea.net

Young Professionals: Riley Paulson

young_professionals@ncmea.net

Advocacy Co-Chairs:

James Daugherty

jdaugherty@ncmea.net

Jeremy Tucker

advocacy@ncmea.net

Constitution: Maribeth Yoder-White

constitution_committee@ncmea.net

Finance: Johnathan Hamiel

jhamiel@ncmea.net

IVfME Co-Chairs:

Lillie Allmond Harris

ivfme@ncmea.net

Markiss Barnes

ivfme2@ncmea.net

Membership: Carolina Perez

cperez@ncmea.net

Editorial: Cynthia Wagoner

editorial_chair@ncmea.net

Ex-Officio Members

Collegiate NAfME Advisor: Christie Lynch Ebert

collegiate_advisor@ncmea.net

Journal Editor: Kim Justen

journal_editor@ncmea.net

Historian: Dr. John Henry, Jr.

historian@ncmea.net

Music Industry Rep.: Adam Frank

music_industry_rep@ncmea.net

Parlimentarian: Dave Albert

parlimentarian@ncmea.net

NCDPI Rep.: Brandon Roeder

brandon.roeder@dpi.nc.gov

NCMEA Office

Executive Director: Susan Heiserman

sheiserman@ncmea.net

Webmaster: Mark Healy

mhealy@ncmea.net


Susan Heiserman

NOTES FROM THE EXECUTIVE DIRECTOR

MUSIC AT UNC CHARLOTTE

This spring, I am filled with a great deal of gratitude for

the amazing community of music educators we have here

in North Carolina. With student events in full swing, I am

particularly grateful for the large number of servantleaders

within our organization who work hard to plan and

run MPAs, district clinics, All-States, professional

development events, and more – all with our students’

best interests in mind. The level of leadership,

collaboration, and dedication among our North Carolina

music educators is a real strength and something I do not

take for granted.

throughout the state and we’re happy to provide advice

and tools to help you advocate for your program.

I can’t say thank you enough for your membership and

participation in NCMEA; by collaborating within our

statewide community, we can deepen our impact and

strengthen the profession further. If you ever have

questions about how NCMEA can help you, or want to get

more involved, I would love to hear from you. Until then,

best wishes for a smooth end to your school year!

Professional Development Conference

Thinking about how music educators model these traits

for their students and how music teaches many

extramusical competencies is what led us to this year’s

conference theme, Beyond the Notes: Shaping Our

Future. Through a variety of sessions and workshops,

we’ll look at not only what makes for quality musical

instruction, but also what happens when we go beyond the

notes. How does our work support and teach the durable

skills that will shape our future workforce and

communities? And how are we shaping the future of music

education to address changing needs and make music

accessible to all learners? We hope you’ll save the dates

and join us in Winston-Salem on November 8 – 11 for this

year’s conference!

Advocating for Music Education

Coming back to the present, though, many other things

in the world remain in flux. Through it all, NCMEA

remains steady in our commitment to promote student

success and well-being through music and arts education.

We continue to meet with key government influencers and

decision makers to advocate for resources and support for

music educators so all students have access to quality

music education taught by a licensed professional. If you

are facing any particular issues in your school or district

affecting your work, please don’t hesitate to reach out to

our Advocacy co-chairs, James Daugherty and Jeremy

Tucker. Our team wants to know what’s going on

HIGH SCHOOL

MUSIC CAMPS

JUNE 16-20

Introduction to Music

Technology

JUNE 23-27

Electronic Music

Production

Drum Major Leadership

LEARN

MORE AND

REGISTER

DEPARTMENT OF PERFORMING ARTS AND TECHNOLOGY

go.ncsu.edu/musiccamps

THE CITY IS YOUR STAGE AT UNC CHARLOTTE

AUDITION DATES:

NOV 16, 2024 • JAN 18, 2025 • FEB 15, 2025 •

MARCH 15, 2025 • APRIL 12, 2025

@CLT_COAA

MUSIC.CHARLOTTE.EDU

SCAN FOR AUDITION DETAILS


NOTES FROM THE PRESIDENT

uncp.edu/music • music@uncp.edu • 910.521.6230

Catherine Butler

MUSIC EDUCATION

Consistency. Routine. Familiar spaces. Those are the

things I cling to when I feel like things around me are

spinning out of control. I don’t know about you, but right

now, it feels like a lot of things around me are currently

spinning wildly out of control. (I feel like I should

timestamp this; I’m writing it at the end of February.) In

this time, when things in

education seem to be changing

and shifting seemingly every day,

I have to focus on the things I

can control – the physical space

of my classroom, the

environment I create for my

students, the way I talk to my

students, the experiences my

students and I can share together

making music.

I would venture to guess that

many of our students feel the

same way we do. Elementary

students likely don’t know the ins and outs of what’s going

on in the education world right now, but they will feel it if

their parent loses their job. If we learned anything during

the COVID shutdown, it’s that children need routine and a

place to feel safe to thrive and grow.

You and your classroom are their constant and their safe

space when the world around them starts to feel like it’s

spinning out of control.

NCMEA and NAfME are working hard to be the constant

in your professional life too. MPAs will happen. Music in

Our Schools Month was full of

celebrations centered around

students making music and the

amazing things you and your

colleagues do every day.

All-States will take place.

Elementary teachers will have

a fabulous mini-conference.

Student teachers will stumble

and fall, and ultimately, thrive

in your classroom and grow

into your colleagues and fellow

NCMEA members.

Meetings with state education leaders will take place to

make sure music educators and our students are on the

forefront of the minds when putting together policies that

will impact us. Section chairs will plan an inspiring

conference for you to look forward to next November.

MUSICAL THEATRE

BACHELOR OF ARTS

MUSIC INDUSTRY EMPHASIS

Your students need you to give them a place where they

know what they can expect when they walk in the

classroom door. Your students need you to make them feel

safe and accepted. Your students need you to continue with

the routine of warming up and having rehearsals. Your

students need you to take them on annual field trips. Your

students need you to plan and execute end-of-the-year

event celebrations. (They are just around the corner!) Your

students need you to listen, to be a listening ear when they

need it. Your students need to start talking about all the big

plans you have for next year. Your students need something

to look forward to and be assured that your shared

classroom space will be there for them in the fall.

NAfME national and state leadership will meet in June to

put our heads together to make sure we’re advocating for

you, your job and your students at every level of

government. And just like clockwork, next school year will

start and we will do it all over again with the lessons we’ve

learned this year and an open door to welcome our students

back into our classrooms.

In times of uncertainty, look for the things that are

constant. Know there are people in your corner behind the

scenes working hard for you. Be the safe space for your

students. Reach out when you need support. We will get

through this time together.

UNCP is one of the most affordable universities in

North Carolina. With NC Promise, undergraduate tuition

at UNCP is $500 per semester for in-state students and

$2,500 per semester for out-of-state students.

SCAN THE

QR CODE TO

APPLY NOW!

Accredited by the National Association of Schools of Music

This publication is available in alternative formats upon request. Please contact the Accessibility Resource Center, Oxendine Administrative Building, Room 110, or call 910.521.6695.


Jenny Patchett, Chair

As I write this article in late February, we are in the

middle of a very busy season in the choral world. Taking a

moment to pause, I really see how meaningful the busyness

is. It strikes me that we are truly lucky in North Carolina to

have each other as colleagues. Whether serving on the

board, as an MPA site chair, volunteering to help at various

choral events for our students, or being willing to stop what

we are doing in our planning and take a phone call to

mentor a fellow choral director. We are always willing to

serve each other and each other's students in truly unique

and special ways.

The ways we serve each other and our students is not for

praise and a high five, but because we, as choral music

educators, genuinely care about each other and the students

in our state.

Honors Chorus chair Ross Broadway led us through a

unique and difficult Honors Chorus season in which

auditions had to be extended due to the horrible hurricane

in our state. With the generous help of our choral directors,

he was able to provide opportunities for over 1,000 students

to audition from 147 schools. Two hundred singers from 78

schools were placed into Honors Chorus.

One specific example of this generosity among choral

directors was in Allison Thorp of Western Carolina

University. When Broadway realized we were going to need

additional auditions for schools affected by the hurricane,

Thorp immediately jumped in to help. She secured an

audition site.

But more than that, in a time when warm meals, hot

showers and even clean water was scarce, she worked with

the local recreation facilities to allow for students to have

warm showers. She cooked meals for all the students

auditioning and she had bottles of water and snacks for

everyone. It was amazing how she was not only meeting

every need they had, but was always a step ahead with

solutions already planned out.

Take note that the 2025 Honors Chorus audition song will

be announced May 1 at our virtual general membership

meeting. We also have amazing opportunities underway

now in the second semester as well.

HIGH SCHOOL CHORAL SECTION

All-Eastern Regional, chaired by Luke Hancock, was an

amazing event that despite a venue change, was even

stronger and more organized than last year, if that’s even

possible. There were a total of 41 schools who participated

in the new location of beautiful New Bern.

All-Western Regional, chaired by Sarah Fulton is setting

up to be another year of fun and beautiful choral singing at

Bonclarken Resort and Conference Center in Flat Rock.

Thirty schools are registered and final registration just

closed on February 14.

Then, as many of us are all too aware that Music

Performance Adjudication season is among us, it is great to

stop and reflect on how many students this incredible

opportunity is positively impacting. As of February 10, 16

schools have 129 solos, duets, trios or quartets registered,

and 148 schools have 290 total ensembles participating

across our state. What meaningful performance and music

literacy assessment experiences our students had in March!

I hope you can also take time in your day to stop and think

about how lucky we are to have each other. I am thankful

for you. Thank you for your work, for your students, and for

each other.

Save the Date

Mark your calendars now

for the 2025 NCMEA

Professional

Development Conference

in Winston-Salem

November 8 – 11, 2025

Bachelor of

Arts in Music

General Music

Jazz Studies

Music Technology

Performance: Instrumental,

Piano, Vocal

Bachelor of Music

in Music Education

Instrumental

Piano and Guitar

Vocal

Minors

General Music

Jazz Studies

Musical Theatre

Popular Music

Graduate Certification

in Music Education

TRANSFORMING

Lives

through

Music!

AUDITIONS

DECEMBER 7, 2024

JANUARY 10, 2025

JANUARY 18, 2025

FEBRUARY 8, 2025

FEBRUARY 15, 2025

MARCH 15, 2025

AUGUST 19, 2025

DEPARTMENT

OF MUSIC

910.962.3390

uncwmus@uncw.edu

UNCW is an EEO/AA Institution. Accommodations for disabilities may be requested

by contacting the Disabilities Resource Center at 910.962.7555 at least seven days

prior to the event. Questions regarding UNCW’s Title IX compliance should be directed

to titleix@uncw.edu. The content of this publication was created by the Department

of Music. Questions? Contact Leslie Samet at sametl@uncw.edu.

UNCW.EDU/MUSIC


Fred Spano, Chair

HIGHER ED SECTION

TRANSFORM.

EXPLORE.

INSPIRE.

Many of us are screeching towards the finish line of our

respective semesters; I am certainly feeling that pressure

myself. However, there are a few pieces of business that

need the membership’s attention. By now, you should have

received the Higher Education Section survey I sent

regarding guest presenters and topics for consideration at

the NCMEA Professional Development Conference in

November, officer nominations, and other

information. If you have not done so

already, please respond using the QR code.

The survey closes April 30, and I will send

out the responses and ballots for officer

elections.

In the survey, you’ll see three music education

researchers to consider as guests in November. I am

including their biographies; you are welcome to indicate

other choices on the survey, or email me directly at

higher_education@ncmea.net. In the next issue (summer

2025), I invite anyone in our membership to contribute an

article for the North Carolina Music Educator. As always, I

am here to assist you in any way!

Brian A. Silvey

Dr. Brian A. Silvey (BME, Morehead State University;

MME, Wichita State University; Ph.D., University of Texas

Austin) is director of bands, music education professor,

and associate director of the University of Missouri school

of music. He presents music education research and

teacher preparation clinics nationally and internationally.

His research interests include conducting expressivity and

effectiveness, instrumental conducting pedagogy,

intonation strategies, and preservice teacher preparation.

He is published in the Journal of Research in Music

Education; International Journal of Music Education;

Psychology of Music; Bulletin of the Council for Research

in Music Education; Update: Applications of Research in

Music Education; Journal of Music Teacher Education;

Choral Conductor's Companion; and Teaching Music

Through Performance in Band series.

Nathan B. Kruse

Dr. Nathan (Nate) B. Kruse is professor and chair of the

music department at Case Western Reserve University. His

research interests include adult music education and

lifespan learning, ethnographic traditions of community

music, and school-university partnerships. He has

presented research at national and international

conferences in the United Kingdom, Ireland, Germany,

China, Thailand, Greece, and Canada.

He is published in books and peer-reviewed research

journals, including the Bulletin of the Council for Research

in Music Education; Arts Education Policy Review;

International Journal of Community Music; Journal of

Music Teacher Education; Research Studies in Music

Education; Journal of Music, Technology & Education;

and Visions of Research in Music Education. He is an

editorial board member for TOPICS for Music Education

Praxis and Visions of Research in Music Education.

Bridget Sweet

Dr. Bridget Sweet is music education professor at

University of Illinois in Urbana-Champaign. Her published

books include Growing Musicians: Teaching Music in

Middle School and Beyond (2016, Oxford University Press)

and Thinking Outside the Voice Box: Adolescent Voice

Change in Music Education (2020, Oxford University

Press). She co-edited the book Motherhood and Music

Education Academy (in press, Oxford University Press).

Sweet’s research interests include middle level choral

music education, (assigned at birth) female and male

adolescent voice change, musician health and wellness,

intersections of LGBTQ+ topics and the music classroom,

as well as intersections of motherhood and academia.

Her research appeared in Bulletin of the Council for

Research in Music Education; Choral Journal;

International Journal of Music Education; and Journal of

Research in Music Education. She has authored chapters

within The Oxford Handbook of Qualitative Research in

American Music Education (2014), The Oxford Handbook

of Care in Music Education (2023), and The Oxford

Handbook of Gender and Queer Studies in Music

Education (in press).

NEW! Post-Baccalaureate Certificate (PBC) in Music Teacher Licensure Prep

The Post-Baccalaureate Certificate in Music Teacher Licensure

Preparation is designed to help current teachers without a

teaching license pursue a teaching license in North Carolina.

The certificate is offered as an alternate pathway to

licensure for music teachers in North Carolina.


by Angel Rudd Cuddeback

It’s All D

O

WN

hill from Here… or is it?

If you read the title and thought, “yeah, right!,” you're not alone. As we approach

the end of the year, spring trips, concerts, and the dreaded testing season loom

ahead, no matter how different our roles, we know the exhaustion we feel as we

are winding down the year.

In January, I did a reevaluation of personal things happening in my life and I

thought, “Why can’t I do this in my career life as well?” You absolutely can! It just

takes sitting down and reflecting on your year as a parent/spouse/caretaker,

teacher, musician, colleague, and friend. Notice I started with you because if you

aren’t your best, you can’t be your best for anyone else. For me, this was a hard

pill to swallow because of the many hats I wear and feeling I need to be available

when anyone needs help. If you're still reading, I hope you find value in how my

year-end reevaluation helped me work smarter, not harder.

You come first

Put your phone down. Being fully present is the first step to taking care of

yourself. I realized that being accessible 24/7 was exhausting. I felt an obligation

to immediately respond to emails, texts, and problems. Setting boundaries

changed everything.

• Put your phone down when you walk in the door and check it after dinner.

• Go old-school – use an alarm clock and leave your phone in another room at

night.

• Read before bed instead of scrolling.

• Eat before 8 p.m. and drink plenty of water.


Go for a walk. Build movement into your day with

intentionality. Set a timer and choose a path where you’ll

see students engaged in learning, interact with a colleague

you don’t often see, or chat with office or cafeteria staff.

Avoid time-draining detours like negative conversations,

copier frustration, or people who might take advantage of

your time. If a midday walk isn’t realistic, plan one when

you get home.

Plan. As a busy person with family and work, planning is

an absolute must! We have a family calendar in the kitchen,

as well as a shared digital calendar. Dedicate one hour

during the week for planning. Plan the day for the grocery

store, appointments, meal plan, rehearsals you have, who

picks up kids, and so on.

Reflect on the year and planning for the future.

As the year comes to a close, we have a valuable

opportunity to reflect on our program's

successes and challenges. Evaluating what

went well, celebrating accomplishments, and

identifying areas for growth will not only

provide closure for the current year, but also

lay a strong foundation for the upcoming year.

Here are some key steps to winding down the

year and setting the stage for future success.

Concert/Performance/Event

Performance Review

Take a moment to review each concert,

festival, or event.

• What were the key takeaways? What pieces

resonated most with the students and audience? Which

moments stood out as highlights of the year? Was it

worth your time and your students’? The biggest

question… Did it ignite you and the students’ musical

passion? I take into account how individual students,

and the ensemble as a whole, have progressed musically

and personally. Did they develop better sight-reading

skills, vocal technique, or confidence? How did they

bring these skills and leadership back to the classroom?

Did I see these achievements in the classroom and did

they affect other students?

• Surveying the students. If you want honest

feedback, this is where to find it. Ask students what they

enjoyed, what was beneficial, what they brought back to

the classroom, and what they want to do.

• Financial Accessibility. With the rising cost of

everything, how do we ensure events remain equitable

for all students? If an opportunity is valuable, we must

also consider how to make it accessible.

I’ve found success in securing support from

administration, PTA, and even social media fundraising.

Some days

it’s sunshine and

rainbows, and

other days I’m the

lion tamer of the

chaos circus.

Community partnerships can also help bridge financial

gaps. At the end of the day, it’s worth asking: Is the cost

of this experience justified by the impact it will have on

students?

During the Last Few Weeks of School, Plan the Who,

What, Where, Why, and When

• Concerts/Performances/Events. Put all the

required concerts on next year’s calendar, even if it’s

just tentative. This gives you an outlook on how busy

you and your students will be. It may also give you a

chance to say, “I need to take something off my plate.” It

may be too early to schedule these events on a school

calendar, but you will be prepared on the first teacher

workday to give your schedule to the administration.

• Music- Don’t reinvent the wheel! Plan your music

so you can sing on the first day of school! Refer back to

your answers regarding pieces that resonated

most with the students/audience and the

survey results. If you participated in a state

event, use the music! If you have All-County

Chorus, look at the music from previous years

and use it; it’s FREE! Call your colleagues and

ask what bangers their students sang.

Sightreading/Rhythm reading should be

ready to go on the first day. Use what the

students worked on the previous year and start

with the basics if needed.

Don’t reinvent the wheel. I cannot stress this enough.

If you have your All-County/festival/event rep, use it!

Program all that music on your concerts so you're

preparing throughout the year, teaching less music, and

preparing more students for opportunities.

Make Goals Obtainable for You and Your Students

• Always make a goal for

yourself. This can be

anything from personal to

professional. Maybe it’s one

of the “you come first”

items I mentioned earlier.

Share this with your

spouse/friend/co-worker,

someone you can check in

with so they can cheer you on to the finish line. We need

these people in our lives.

• Make obtainable goals and help guide your students as

to what this would look like. Example, you're going to a

festival with ratings. What do students need to do in

order to make the end goal happen? I start with my

students on the first day by saying, “If we can’t walk in a

single file, silent line, we can’t go anywhere.” We know

that’s the truth! Make a goal chart and let them visually

see the progress.

• Just because everyone else is doing it, doesn’t mean you

have to. This has been my mantra since high school. I

struggled when I became a music educator to keep this

mantra. What works for someone else, may not work for

you. Everyone’s boat looks different, everyone’s paddle

is not the same, everyone’s crew is not the same size,

and everyone’s sea is not always smooth. And that’s

okay. What you need to ask yourself is, are my students

growing and learning in music, creating an atmosphere

that’s positive with their peers, and building a place to

truly feel as though they can be themselves and belong?

If you're reading this thinking that I have my life, career,

and classroom running smoothly, I don’t. Some days it’s

sunshine and rainbows, and other days I’m the lion tamer

of the chaos circus, and that’s okay too. These are just a few

strategies that have helped me regain control of my time

and energy. By taking time to reflect, celebrate, and plan,

we set the stage for another rewarding year. Thoughtful

preparation fuels creativity, growth, and musical excellence,

ensuring our programs thrive for years to come.

Angel Rudd Cuddeback has been a

choral educator since 2008. She

earned her degree in music education

from UNC Greensboro, with

concentrations in choral education and

piano. Throughout her career, she has

successfully prepared choirs for

performances at prestigious venues

such as Lincoln Center in New York

City, the Alabama Theatre and

Legends in Concert in Myrtle Beach, S.C., and the Biltmore

Estate. Her choirs also proudly represent their school at

state-level events, including Music Performance

Adjudication, Honors Chorus, and All-State Chorus. She

has been an active leader in the NCMEA Middle School

Choral Section since 2013. She served as the Middle School

All-State coordinator, chair-elect, and now, proudly serves

as chair.

Brevard Choral Institute

A Weeklong Choral Intensive for

High School Students

Hosted by Brevard College

Dr. David Gresham, Director

July 7–12, 2025

Join us.

http://brevard.edu/bci


NEW Bachelor of Music Performance with a

Concentration in Jazz Studies, starting Fall 2025

JAZZ SECTION

Matt Howard, Chair

As we continue through the school year, we worked our

way through our Region clinics. As this update is published,

we are looking forward to our All-State Jazz Clinic on April

11 – 12, hosted by Dr. Thomas Taylor at N.C. Central

University. Heading into summer, I encourage you to

connect your students with summer jazz programs to help

continue their development.

Central Region

Due to weather, the Central Region Jazz Clinic was

rescheduled to February 7 – 8, and hosted at Panther Creek

High School. Michael Capps (A.L. Stanbeck Middle School)

led the Middle School B Band; Thomas Taylor (percussion

professor, N.C. Central University) led the Middle School A

Band; Adrien Re (Wake Tech and Campbell University) led

the High School B Band; and Thomas Heflin (jazz brass

professor, UNC Greensboro) led the High School A Band.

The 2024 – 25 award recipients in the Central Region

were Michael Jefferson (Jazz Director of the Year) and Erik

Riggs (Jazz Award of Excellence).

Central Region Jazz MPA will be held April 24 and 25 at

Millbrook High School.

East Region

The East Region Jazz Clinic was shortened by winter

weather and was hosted on February 22 at UNC

Wilmington. Carl Ratliff (South Charlotte Middle School)

led the Middle School Band; Jorge Benitez (Havelock High

School) led the High School B Band; and Gabriel Sanchez-

Porras (saxophone professor, UNC Wilmington) led the

High School A Band.

John Weeks (chair), Jesse Shelton (auditions) and Helen

Park (treasurer) were re-elected to their positions on the

East Region board.

The Jazz Award of Excellence – East Region was awarded

to Bob Ebert, from First Flight High School in Nags Head,

in recognition of his 29 years of service as an educator and

his fantastic jazz program.

East Region’s Jazz MPA is May 9 at J.H. Rose High School

and will potentially be moving to a two-day event this year.

West Region

The West Region Jazz Clinic was January 31 – February 1

at Asheville High School. Tina Robinett (Asheville Middle

School) led the Middle School B Band; Erik Riggs (Mills

Park Middle School) led the Middle School A Band; Sean

McClure (professional saxophonist, former teacher) led the

High School B Band; and Justin Ray (professional trumpet

player) led the High School A Band.

Adam Stewart is continuing as the West Region chair;

Greg Dills is taking over as the High School Clinic chair, and

Noah Brown will be serving as the Auditions chair.

Stephen Foster received the Jazz Award of Excellence –

West Region and is next year’s Middle School B Band

clinician.

West Region Jazz MPA will be held May 9 – 10 at Hibriten

High School this year.

All-State Jazz Auditions & Clinic

Audition judging was scheduled for March 18 – 20, with

results shared on March 21. The clinic was April 11 – 12 at

N.C. Central University.

Conference

As of publication, our call for proposals to present at

conference has closed, but I am still in the process of

scheduling our sessions! I welcome your feedback on

presentations and topics, and am excited to continue

planning. I will communicate with regions about applying to

perform at conference with a tentative deadline to apply of

May 23.

Summer Jazz Opportunities

Mars Hill Summer Music Camp and ECU Summer Music

Camp are both June 15 – 20 and have jazz tracks. Cannon

Music Camp at App State will be June 21 – July 12 and also

includes a jazz track. UNC Chapel Hill is hosting their

Summer Jazz Workshop June 23 – 27. UNC Wilmington’s

Summer Jazz Workshop will be held July 16 – 20.

Transforming a Passion for Music into a Profession for Life

Bachelor of Music in Music Education, Music Therapy and Performance

Bachelor of Science in Music Industry Studies

Master of Music Therapy

Master of Music in Performance:

Instrumental, Vocal, Collaborative Piano, Conducting, Composition

Audition Required

Auditions in November, January and February for Fall 2026 Incoming Students

Apply now for the 57th Cannon Music Camp!

June 21 - July 12, 2025

music.appstate.edu


by Brandon Roeder

Putting Standards Into Practice

the 16 Standard Course of Study

Throughlines in the Classroom

This is the final in a three-part series on the changes to the Music SCOS.

LLooking forward to the 2025 – 26 school year, teachers may be apprehensive

about the amount of work needed to decode, demystify, and put into practice 20

objectives per year for general music, or 22 objectives a year in vocal and

instrumental music courses. Well, good news! We believe most objectives will be

taught in tandem and simultaneously woven together throughout the course!

There is no need to have 20+ separate lessons for students to learn, and then

show mastery. That’s not how arts courses work. To reinforce this, we’ve created

the following graphics to show the interconnectedness of our strands, standards,

and objectives. Use whichever you feel best applies to your classroom!

How Do I Know What to Teach?

To aid with this process, NCDPI has been working with amazing music

educators from across the field to unpack each objective. Following the

“understanding by design” process, commonly referred to as backwards

planning, each objective undergoes a thorough analysis, as shown in the table on

the next page.


D.PR.1.2 Demonstrate appropriate musical technique with

support.

Glossary

Appropriate – Suitable or right for a particular situation or occasion.

Technique – Specific skills, pedagogies, theories, or methods of investigation

used by an artist.

Support – Assistance provided temporarily to enable a student to perform a task that

would be difficult to perform unaided, best implemented in a manner that helps

develop that student’s capacity to eventually perform the task independently.

Vertical Alignment

Enduring Understanding

2 3

This objective develops the EQthroughline

because in the previous level

students reproduced appropriate

musical technique with support and now

they are demonstrating it. In the next

level, they will demonstrate consistency

without support.

Knowledge

To master this objective, students need

to KNOW:

– What appropriate technique looks and

sounds like

Teacher Actions:

– Model appropriate musical technique

In the Classroom

The Enduring Understanding from

this thread of objectives is to have

3

students know that musicians

communicate their artistic knowledge

through demonstrations of concepts and

skills.

Skills

To master this objective, students will

need to be SKILLED at:

– Showing appropriate musical

technique with or without temporary

assistance

– Guide students’ ability through opportunities to demonstrate technique in

isolation and in the context of repertoire.

– Monitor students’ ability to demonstrate appropriate technique through formative

assessment and feedback

Key Insights:

– Participate in appropriate pedagogical professional development.

– Create a manageable performance calendar and communicate it with students,

families, and school community members.

– Set clear expectations of performance and skills benchmarks

– Select appropriate repertoire and rehearse ensemble with performance goals in

mind

– Solicit input from students to peer review their own and others’ technique to pair

with RE.2.2 and PR1.1

Assessment Example

What Content Do I Teach?

Not ready to get down to the nitty-gritty yet? That’s ok!

Taking a look at the “Big 8” standards can help teachers

begin to wrap their heads around how to implement the

6

4

5

Possible Learning Activities

Possible Topics may include, but not

be limited to:

–Scale technique and fingerings

– Posture, mouth shape, embouchure

1

7

1

2

4

5

6

7

The Glossary section breaks

down the terms used in the

objective for clarity. Click here

for the full N.C. DPI glossary.

Vertical Alignment covers

what students should have

learned in the previous level, and

what they will learn in the next

grade/level.

The Enduring

Understanding box shares why

students should care about this

line of learning.

The Knowledge and Skills

boxes are the building blocks of

lessons, and also what students

need to be assessed on to show

mastery of the objective. The

green boxes are suggestions for

classroom implementation.

Teacher Actions provide a

short sequence of actions to lead

students toward mastery, and the

Key Insights are helpful notes

from the writing team to the

teacher. This section is incredibly

important for identifying which

objectives can be taught

simultaneously.

The Assessment Example

box is grayed out for the time

being, but will be completed at a

later time.

The last box includes Possible

Learning Activities which is a

short, non-comprehensive list of

ideas to spark a teacher’s

imagination when planning for

this objective. These green

sections are not meant to be

prescriptive and are only

intended to be suggestions.

Districts are encouraged to create

additional activities which are

tailored to their students’ needs

and teacher expertise.

new standards. As a refresher, the Connect strand has the

Relate and Explore standards. The Create strand has

Originate and Adapt. The Present strand has Perform and

Develop (Presentations), and the Respond strand has

Analyze and Evaluate.

Every course must have students engaged in all eight

processes. Moreover, each standard has two focused areas,

as indicated in the Drill Down document available on the

Arts Ed Hub. Below is a modified version of the document,

including some ideas for what each of the 16 throughlines

might look like in the music classroom!

Connect: Relate and Explore

Relate musical ideas and works with personal, societal,

cultural, and historical, and daily life contexts, including

diverse and marginalized groups.

1. Deepen understanding of musical ideas by relating to

historic, societal, cultural, and/or daily life contexts.

EQ: How do the world and this art form influence one

another?

• Choose repertoire that reflects the level’s historic

or cultural focus.

• Incorporate conversations about every song and

composer’s background.

2. Co-curricular Integration. EQ: How do school, life,

and arts education skills relate to one another?

• Reveal connections to dance, theater, and visual

arts. They are easy to point out!

• Reveal connections to the non-arts areas as well,

especially science (acoustics), math (subdivision),

poetry, and a variety of inspirations for

programmatic music.

• This throughline covers health issues in 1.3 for

VIM.

Explore advancements in the field of music.

1. Postsecondary opportunities and careers of music

professionals. EQ: What college and/or career

opportunities exist in this art form?

• Discuss careers that include music production,

artistry, education, publishing, etc.

• Reveal how the Portrait of a Graduate skills of

adaptability, collaboration, communication,

critical thinking, empathy, learner’s mindset, and

personal responsibility prepare students for

success beyond the music classroom.

2. Explore innovative methods, tools, and technologies

used by musicians in the professional music industry.

EQ: How is the art form transforming in the world?

• Review the evolution of music from an oral

tradition to notation. Innovations could include

extended techniques, atonal theory, new styles,

genres, etc.

• Examine digital tools and technologies available

for the creation, production, and performance of

music. Students are never required to use

technology tools.

Create: Originate and Adapt

Create original musical ideas and work, independently

and collaboratively.

1. Improvise, or experiment with, original works of

music. EQ: How does exploration, experimentation,

improvisation, and investigation happen in artmaking?

• Teach students to improvise original music.

• Improvisation can be the end goal, or could be to

generate ideas for original compositions.

2. Create planned original musical works. EQ: How are

original works created and documented?

• Guide students through composing their own

rhythmic and/or melodic ideas.

• Depending on the course, the teacher can choose

whether it is most appropriate to have students

notate their ideas (and choose the notation

system) or record it with a digital workstation

software.

• “Compositions” are written musical ideas. Don’t

let students be intimidated by the idea; they don’t

have to be massive, time-consuming, projects.

These could be great bell-ringer activities. Check

out go.ncdpi.gov/VIM-CR for more ideas.

Adapt original musical ideas and works, and those of

peers and other artists, independently and collaboratively.

1. Arrange, adapt, or derive from other musical ideas.

EQ: How can artwork be adapted or modified with

new ideas without appropriating?

• Arranging is a key skill in music. Provide

opportunities for students to compose variations

on ideas, songs, or others’ compositions.These

could be great bell-ringer activities. Check out

go.ncdpi.gov/VIM-CR for more ideas.

2. Explain how musical works are protected, shared, and

used fairly by audiences and other musicians. EQ:

How does an artist protect their work or use another

artists’ work fairly?

• Teach students to be fair and kind. All students

should know why pirating music, illegal digital

sharing, or photocopying music is unfair to

musicians. They should also know that any content

they create is automatically protected and cannot

be stolen by others.

Present: Perform and Develop

Perform musical work from a variety of styles, cultures,

and genres.

1. Improve musical technique by applying


feedback. EQ: What steps can be taken to improve as

an artist?

• Teach students that refining their practice is an

integral part of being a musician.

• This objective focuses on using feedback. Giving

feedback is covered in the Respond: Analyze and

Evaluate section below.

2. Perform musical work for an audience. EQ: How can

skills be presented informally or formally to an

audience with clarity and focus?

• This throughline covers objectives 1.2 – 1.6 in

VIM, and 1.2 – 1.4 in general music.

• This is where our music educators SHINE! These

objectives are where students get to demonstrate

playing music! They still need to be assessed.

Develop musical presentations.

1. Identify the production needs of presentations. EQ:

What does it take to produce a presentation or

performance?

• Involve students in choosing the repertoire they

will perform, and their order.

• Teach students about the “other” things that go

into performances: risers, shells, chairs, music

stands, sound equipment, lighting, programs,

tickets, etc.

2. Demonstrate audience and presenter etiquette

appropriate to the context of a presentation. EQ: How

does the venue and presentation formality influence

meaning and performer/presenter and audience

etiquette?

• “Appropriate” can change by genre or by venue

(ex: clapping during a jazz song after a solo vs. not

clapping at the symphony between movements).

• Guide students in identifying what behaviors are

best for them as audience members, and as

performers.

Respond: Analyze & Evaluate

Analyze works from a variety of styles, cultures, and

genres using content-specific vocabulary.

1. Identify skills and techniques used in <artistic> works.

EQ: What did the artist present?

• Guide students to identify the dynamics, tempos,

articulations, form, instrumentation, etc., in the

repertoire they listen to and perform?

• Provide opportunities for students to identify

these in both aural and notated examples.

2. Interpret intent and purpose in <artistic> work. EQ:

Why did the artist make specific creative choices?

• Guide students to examine why composers or

performing artists make artistic choices so that

they can imitate (or avoid) similar choices.

Evaluate works using content-specific vocabulary.

1. Examine the effect of personal preferences. EQ: How

do personal preferences influence responses to

artwork?

• Students come to us with biases about music: they

may have already listened to hours and hours of

music before coming into the classroom. Provide

opportunities to talk about their likes and dislikes,

and how those preferences shouldn’t impair their

ability to objectively evaluate music.

2. Evaluate artistic work and provide feedback. EQ: How

can feedback be given to self and others?

• Teach students that refining their practice is an

integral part of being a musician.

• This objective focuses on giving feedback. Using

feedback is covered in the Present: Perform and

Develop section on the previous page.

What Materials Do I Use to Teach?

Since North Carolina is a local control state, NCDPI

does not recommend textbooks, repertoire, tests,

curriculum, or creating pacing guides. Teachers are

trusted to meet the needs of the students in their room,

and are encouraged to create ensembles and music

programs which reflect their student populations.

Districts are encouraged to have teachers work in PLCs to

create progressions of learning and pacing guides. Using

the Music Skills Appendix can guide PLCs in identifying

which skills are taught in each grade level.

What’s Next?

Unpacking documents will be released to the field this

summer for teachers to plan and create instructional

materials. Collaborate with peers to find new best

practices for teaching the Standard Course of Study in

your room; share at NCMEA conference, and learn from

one another! Reach out to your district arts education

leader for any specific guidance, and stay tuned to the

NCDPI Arts Education Listserv for continued

professional development on implementing the new

standards!

Western Carolina University

School of Music is proud to announce

two new voice faculty

Dr. Andrea M. Price

Dr. Isaiah M. Feken

A former Patricia and Dr. Carl S Hoveland Opera Fellow, Dr. Isaiah Feken

is a sought-after teacher and performer across the U.S. Dr. Feken has

appeared with Central City Opera, Des Moines Metropolitan Opera,

Des Moines Ballet, Crested Butte Music Festival, Pittsburgh Festival

Opera, Athens Choral Society, and was an artist in residence with

Opera Colorado for their 19-20 and 20-21 seasons. Dr. Feken is also an

active researcher; his article, “The Voice Divided,” was featured in the

Journal of Voice in January 2023. Previously, Dr. Feken was a Teaching

Associate of Voice at Drake University and served as the Artistic

Director and Principal Conductor for Drake Opera Theatre. A native

of Tulsa, Oklahoma, Dr. Feken received his B.M. from the University of

Tulsa, later completing his M.M. and D.M.A. at the University of Georgia

where he served as a principal baritone for UGA Opera Theatre.

Dr. Andrea M. Price happily joins the School of Music at Western

Carolina University after 16 years at Piedmont University in Demorest,

GA, where she was Professor of Music and most recently, Chair of the

Department of Music. She holds a BM in Voice Performance and Music

Education from Meredith College, an MM in Voice Performance from

Appalachian State University, and a DMA in Voice Performance from

the University of South Carolina. Dr. Price has also held positions on

the faculties of the University of Louisiana at Monroe, Meredith College,

and Peace College, in addition to having taught music in the public

schools of North Carolina.

Dr. Price has performed the roles of Mrs. Ford in Nicolai’s The Merry

Wives of Windsor and Ciesca in Puccini’s Gianni Schicchi. She has

performed in Italy twice in conjunction with the NC Young Artists’

Program of Raleigh, first as the title role in Puccini’s Suor Angelica

(Sansepolcro) and then as La Contessa in Mozart’s Le Nozze di Figaro

(Tiber Sinfonia Festival, Monterchi). Additionally, she performed the

song cycle Orpheus and Euridice by Ricky Ian Gordon in Mykonos,

Greece and was a guest artist with duo per se, presenting a concert by

American composers in Christchurch and Auckland, New Zealand. She

has been a featured soloist with the South Carolina Philharmonic and

the Monroe Symphony Orchestra of Louisiana and has done various

solos in conjunction with the Piedmont University Great Composers

series. She was a winner of the 2010 Georgia National Association of

Teachers of Singing Artists’ Awards competition

WCU School of Music audition dates

January 25th & February 1st, 2025

music.wcu.edu (828) 227-7242


ORCHESTRA SECTION

ACROSS THE DISTRICTS

Veronica Biscocho, Chair

It’s spring, which means regional orchestras and spring

musicals and… MPA. I was working with my school’s

chamber orchestra to prepare pieces for an adjudicated

performance and realized how differently I approach judged

music. I listen more carefully, correct intonation with more

precision, and talk about more nuanced musical ideas with

my students. It’s as if I’m extra honed in on my teaching

and rehearsal pace in a way I am not always the rest of the

year. But what if I always held myself and my students to

that level of detail? What kind of music could we make?

MPA (and MPA-level musical preparation) doesn’t have to

be limited to the once-a-year NCMEA offering. There are

several opportunities for students and teachers to get

professional feedback on their performance around the

state. Read on as we highlight two such festivals.

Durham Orchestra Festival

This one-day festival began in 2023 and has two judges.

Currently limited to orchestras within Durham Public

Schools, each group plays two prepared selections, one of

which must be on the state MPA list.

Kayla Meek, festival chair, explains the event can either be

the sole adjudicated event for the year for an orchestra or a

pre-MPA performance to get feedback. She explains:

Each school orchestra program has disparate

means – some have well funded boosters, others

only receive minimal district funding. MPA is easily

accessible to some schools, but completely out of the

question for others. When it comes to the Durham

Orchestra Festival, the district arts budget covers

the cost of the judges so participating schools only

have to cover the cost of buses. So teachers at lower

resourced schools still have the ability to receive

feedback from highly qualified string educators to

continue refining their craft.

This doesn’t mean Durham schools aren’t represented at

MPA. Meek says, “All groups that have typically gone to

MPA continue to do so, and some opt to use Durham

Orchestra Festival as a pre-MPA event. Teachers who have

been in the district for a few years generally make it a point

to bring at least one of their groups as they see the value of

receiving feedback in the middle of the rehearsal process.”

Guilford County Orchestra Festival

Donny Walter started the two-day Guilford County

Orchestra Festival at Northwest Guilford High School in

2014. There are available spots for 24 groups, and this year

the event was full – and waitlisted – by November.

Walter views it as a “kind and gentle” festival. After

performing the prepared music, judges come onstage and

provide a mini clinic time, showing students how to

improve upon some of the judges’ suggestions. Walter says,

“I think it is a great ‘safe’ festival for programs that are

finding their way or who don’t want the pressure of a rating

that is going to be published across the state.”

This event is designed with more flexibility than MPA.

Walter explains:

I wanted an affordable festival with the focus on

improving student performance instead of chasing a

rating. From the start, I wanted the directors to

have the freedom to pick performance programs

that fit their groups instead of picking music from a

prescribed list. I also wanted the judges to work

with the groups immediately instead of students

having to wait for the written and audio recorded

comments. And I wanted a festival that allowed for a

lot of flexibility in the size and instrumentation of

groups. Not every school can meet the 12 student

minimum criteria that large ensemble MPA requires.

Similar to the Durham festival, many teachers use this as a

way to get feedback partway through their MPA rehearsal

block. Walter equates the experience to about a week of

rehearsal time, and he and his students get more specific

feedback to take into the classroom following the clinic.

It is exciting to see members of the NCMEA Orchestra

section are committed to providing opportunities for the

range of programs and situations we have in our state. MPA

and these supplemental festivals are great ways to keep you

and your students engaged and making quality music.

District 7

Music educators across District 7 demonstrated resilience

and productivity during the challenging fall and winter

months. Despite disruptions caused by Hurricane Helene,

snow days, and remote learning days in some counties,

teachers remained committed to their programs, working

hard to keep students on track for upcoming events and

curriculum goals.

Performances and Events

The fall and winter seasons were filled with performances

and opportunities for student involvement. Middle and

high school band and choral programs throughout the

district participated in events such as MPA, All-County

Band, Solo and Ensemble, and choral clinics. Meanwhile,

elementary music programs stayed busy with musicals, All-

County Chorus, and Music In Our Schools Month activities.

In February, students from Burke, Caldwell, Catawba,

Hickory City, and Newton-Conover City Schools enjoyed

performances by the Western Piedmont Symphony at

Lenoir-Rhyne University. Hundreds of students also

participated in All-County Chorus events in their counties.

Dr. Heather Potter directed the Caldwell Elementary All-

County Chorus in February, and in March, Sally Albrect led

the Catawba Valley All-County Chorus, while Tom Shelton

directed the Burke County All-County Chorus.

Additionally, Sherrills Ford Elementary School’s third and

fourth graders performed Finding Nemo Kids in February.

The Music Ensemble Showcase on March 18 featured

ensembles from Balls Creek, Maiden, and Tuttle

Elementary Schools. On March 21, the Sound of the Tigers

at Sherrills Ford Elementary showcased Moana Jr. at Mill

Creek Middle School.

Awards and Recognition

Several music educators in District 7 were honored for

their outstanding contributions to education. Anthony

Benson from West Wilkes High School, Dawn Bowman

from Sawmills Elementary, Ashley Brown from Tuttle

Elementary, Andrea Evans from Granite Falls Elementary,

Tawny Homesley from Jenkins Elementary, and Dylan

Youngsmith from Davenport A+ were recognized as

Teachers of the Year. Constantine Kiriakou was named

Rookie Teacher of the Year at Collettsville School.

Tawny Homesley earned the Making a Difference Award

for the winter term, while Hannah Johnson received the

GOAT Award at Grandview Middle. Patrick Yang was both

the MVP of the Week and a Wilkes Hall of Fame inductee

as a first-year teacher. Jessica Stamey’s eighth grade chorus

at Hudson Middle School earned a superior rating at the

Small Ensemble.

Grants and Funding

Several educators were awarded grants to enhance their

music programs: Margy Butterfield from Startown

Elementary, Glenda Stephens from Viewmont Elementary,

Jessica Stamey from Hudson Middle School, and Tawny

Homesley each received the Hickory Choral Society's Grant

for Music Literature. Wendy Holloway received a Bright

Ideas Grant to purchase keyboards for Mitchell Middle

School. Tawny Homesley also received the Phillis Frye

Copeland Grant to purchase classroom ukuleles. Melissa

Vanderbloemen received two keyboards and stools from

DonorsChoose, and Dylan Youngsmith received a

cARTwheels Grant from the NC Arts Council to fund a

3-day Dancing Drum residency and workshop.

Looking Ahead

Exciting spring events are on the horizon for District 7.

Bandys High School’s spring musical, Seussical, was held

April 3 – 5 at the Maiden High School Auditorium, and

Arndt Middle School’s seventh and eighth grade choruses

will perform at Corinth Reformed Church on April 28. The

Startown Elementary Chorus concert is on May 1 at 7 p.m.

in the Startown gym. Cove Creek Middle School's chorus,

band, and orchestra concert will be on May 6 at 6 p.m.

Green Valley Middle School Chorus Spring Arts Showcase

is May 8 at 6 p.m. As we look ahead to these and many

more spring performances and events, we celebrate the

hard work and commitment of both teachers and students

who make music education such a powerful and inspiring

journey.

Andrea C. Evans

District 7 President

District7@ncmea.net


by Dr. Casey Collins

Sustaining Your Sound

Vocal Health for Music Teachers

As we clean our classrooms, review curricula, and plan for a successful second

half of the school year, one important task that should be on every music

educator’s spring checklist is an examination of their vocal health and voice use.

The voice is one of the most important tools for the education profession, and

research shows that nearly 50% of all educators face voice problems during their

career (Verdonlini & Ramig, 2001). Music educators are considered at an even

higher risk for voice problems than other professional voice users (Doherty & van

Mersbergen, 2017; Roy et al., 2004; Smith et al., 1997). Some researchers suggest

music teachers are roughly four times more likely to incur a voice-related issue

than classroom teachers (Morrow & Connor, 2011).

Due to the unique vocal demands of the profession, music teachers may ignore

caring for their voices until they experience a problem (Martin & Darnley, 2004).

It is important to note vocal issues are not restricted to choral or elementary

general voice-heavy spaces. A study found that music educators in all specialties –

including instrumental ensembles – are likely to experience some kind of voice

related issue in their career (Bartlett & Hartwig, 2004; Hendry 2001). Vocal

demands may differ by specialty area, but there are risks to vocal health across the

music education profession. This article is not intended to cause fear or unease

about the music education profession, but instead aims to raise awareness of

risks, along with treatment and prevention strategies, for voice health in the

music education space.

Realities of the Classroom: Vocal Health Risks

Music teachers are identified as professional voice users with job requirements

that balance singing and speaking for extended periods of time (Hackworth,

2023). This can be referred to as vocal load, defined as the demands placed on the

voice (Schmidt & Morrow, 2016). Realistically, a music educator’s vocal load is


likely higher than most studies indicate as research tends to

focus on voice use within the classroom and does not

typically include personal speaking or singing time. In

addition to teaching responsibilities, many music educators

engage in extra activities in and outside of school, such as

cafeteria or dismissal duty, directing or performing in a

choir, or talking with family or friends. All of these activities

can put additional stress on the vocal cords which can lead

to voice disorders (Hackworth, 2010).

While it is fair to say that allergies and illness can

contribute to vocal problems, music educators are most

likely to encounter vocal problems because of the demands

of the profession (Bernstorf & Burk, 1996). The voice

requirements for most music teachers may lead to possible

phonotraumatic (damaging) behaviors (Morrow & Connor,

2011). Phonotraumatic behaviors can include long-term

voice use without time for rest or recovery, speaking in

locations with poor acoustics (Lopèz et al., 2017), speaking

over background noise in professional (Hunter et al., 2020;

Smith et al., 1997) and personal settings (Vincent, 2008),

and speaking at high volumes, sometimes referred to as

vocal intensity (Davis, 1998). Understanding these vocal

stressors and avoiding them when possible is important for

preventing potential vocal use problems.

Chronic voice issues for music teachers have been

associated with decreased teaching effectiveness, absences,

and stress for teachers (Brown, 2020; Dietrich et al., 2008).

If not treated, they may lead to more long-term issues

including teacher burnout (Hendry, 2001) and attrition

(Roy et al., 2004). Common vocal injuries for music

teachers include, but are not limited to, dysphonia, vocal

cord dysfunction, vocal cord nodules, cysts, and polyps

(Nixon, 2023). Voice disorders can change the quality,

pitch, or volume of the voice or cause the voice to sound

strained, hoarse, or weak (Cleveland Clinic, 2022). If these

qualities are observed and hinder voice production, music

teachers may need to take action and consult voice care

professionals.

Many teachers who already have a voice disorder face

additional risks in the classroom. Teachers with injuries,

regardless of diagnosis, are more likely to raise their

speaking or singing volume to compensate for their

damaged voice, which effectively causes more strain (Chen

et al., 2010). Brown (2020) reported that teachers with

vocal injuries felt stressed and anxious because of their

voice-related issue, but stress may also be a large

contributor to the voice issue itself. Additionally, music

teachers especially might feel it is their responsibility to

“muscle through” an injury to provide quality music

education, causing further damage (Schmidt & Morrow,

2016, p. 120).

Treatment and Prevention

The teaching profession is at a high risk for voice

disorders, but preventative measures can be taken to

preserve vocal function. A diagnosis from a licensed medical

professional is the only way to definitively identify a voice

disorder, but music teachers should monitor their vocal

production for any changes, pain, or hoarseness and seek

help if necessary (Doherty & van Mersbergen, 2017). The

following treatment and prevention strategies serve as a

starting point for exploring the recommended approaches

in vocal health research.

Vocal Hygiene

Vocal hygiene is the awareness and implementation of

strategies for healthy vocal habits. Vocal hygiene differs

from vocal health in that hygiene is the practice of

preventative care and maintenance of the voice, while vocal

health refers to the condition or health of the voice (Behlau

& Oliveria, 2009). Vocal health and hygiene function

similarly to dental health and hygiene, where hygiene

practices like brushing and flossing contribute to overall

dental health. To practice vocal hygiene, it is recommended

teachers create a daily regimen of good vocal habits.

Examples include incorporating vocal warmups before

speaking, as well as singing, reducing situations that place

excessive wear and tear on the voice, and staying hydrated

(UNC Voice, n.d).

Vocal Function Exercises (VFE)

Vocal Function Exercises (VFEs) help voice users

strengthen and rebalance the muscles involved in voice

production while improving the coordination between

respiration (breathing), phonation (speech sounds), and

resonance (vibration) (Noorani, n.d; Stemple et al., 1994).

VFEs have been found to be an effective vocal hygiene tool

for professional singers (Sabol et al., 1995) and have

improved self-reported responses on the Vocal Handicap

Index (VHI) for teachers (Roy et al., 2001).

Incorporating seven to ten minutes of VFEs each day

could improve vocal health (Roy et al., 2001; Vincent,

2008). There are several types of VFEs, but a great starting

point for music teachers is semi-occluded vocal tract

(SOVT) exercises, which involve vocalizing with a partially

blocked or narrowed vocal tract to improve vocal

production, reduce strain, and enhance control (Cambridge

University Hospitals, 2023).

SOVT Exercises to Try

• Consonants: Say consonants such as [m], [z], and [r],

focusing on breathing and sound production. Once

comfortable, try pitch glides or short vocal warm-up

patterns such as ascending thirds, a five-note scale, etc.

(Scheffel, 2024).

• Lip Trills: Without tension or force, buzz lips like a

motorboat or horse imitation. Begin by sustaining a

comfortable pitch while buzzing. Once comfortable and

without pressure or force in the facial muscles (this

takes practice) work through pitch glides, vocal warmup

patterns, or simple songs (Scheffel, 2024).

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• Straw Phonation: Find a drinking straw, place it

between the lips, take a deep, diaphragmatic breath and

make an "oo" sound through the straw at a comfortable,

easy pitch. Hold this for eight – ten seconds. Then try a

glide or "siren" from your lowest to highest note. Once

comfortable, advance to “blowing” an easy tune or

warmup pattern on “oo” through the straw. You can

begin with a large milkshake straw and work your way

to smaller straws as you get more comfortable with the

exercise. (S.L. Hunter Speechworks, 2022). Airflow

should be steady and constant with no stress in the face

muscles.

• Cup Bubble: Fill a medium-sized cup halfway with

water. Hold the cup in your hand, level with your chest

without straining your neck or head. Place a straw into

the cup of water but do not allow it to rest on the bottom

of the cup. Start to blow gentle bubbles through the

straw — as you’ve seen in cartoons! Focus the energy on

the abdominal muscles with cheek and face muscles

relaxed. Control the air so the water does not spill. Once

comfortable with the process, make the sound ‘oo’ while

you are blowing bubbles. Expand to vocal slides,

warmups, or easy tunes (Cambridge University

Hospitals, 2023).

Amplification

Music teachers often need to elevate their voice over

musical and non-musical sounds occurring in their

classrooms. Unsurprisingly, music teachers reported

speaking over background noise – regardless of choral,

instrumental, or general specialty – as the highest vocal

stressor for music educators (Hackworth 2006, 2009,

2010). Amplification is an effective treatment and

prevention tool for voice disorders because it limits the

need for vocal intensity, or volume, of the voice (Morrow &

Connor, 2011; Roy et al., 2003). Using a portable

amplification device has also been shown to reduce stress

levels, as teachers reported not needing to strain their

voices to be heard (Massie & Dillon, 2006). Some school

districts will provide amplification devices for teachers upon

request, or music teachers can reasonably purchase their

own amplification device through most online retailers.

Voice Therapy

One of the most common recommendations for voice

disorder treatment is voice therapy. To receive it, you must

receive a referral from a medical professional. The Duke

Vocal Care Clinic explains the voice therapy referral process

typically follows a joint evaluation by a laryngologist – an

ear, nose, and throat doctor with advanced training in voice

disorders – and a voice-specialized speech-language

pathologist (Esper, 2025). Voice therapy can improve the

health, function, quality, and stamina of phonation (speech

sounds), and is often described as "physical therapy for your

voice" (Scearce, 2025).

Sustaining Your Sound

In conclusion, the discussion of vocal health risks

associated with the music education profession is intended

to promote awareness of the importance of vocal health

within the music education profession. If music teachers are

not mindful of keeping their greatest classroom tool, their

voice, in good condition, a vocal injury could occur (Morrow

and Schmidt, 2016). Most often, music teachers begin to

truly care for their voice after an injury occurs. However,

understanding classroom risks and implementing

preventative strategies can help mitigate vocal injuries

before they happen, or encourage teachers to seek

treatment from professionals. By prioritizing vocal health,

music educators can ensure a fulfilling career with a

healthy, sustainable voice.

Dr. Casey Collins is an assistant

professor of music education in the

Hayes School of Music at Appalachian

State University. She works with

undergraduate music education

students and serves as the cNAfME

chapter advisor.

Collins spent nearly a decade

teaching PreK – 5 elementary general

music in North Carolina, where she

was awarded Teacher of the Year and honored as an

Excellence in Education district finalist. In 2018, she was

awarded the Global Teacher of the Year from Participate

Learning for her dedication to global education. Her

research interests include teaching music in high-poverty

schools, trauma-informed pedagogy, positive psychology,

and vocal health and hygiene for music teachers.

Collins holds a Ph.D. in music education from the

University of Michigan, a Master of Music in music

education from East Carolina University, and Bachelor of

Science in music education and Bachelor of Arts in music

performance degrees from Elon University.

References

Bartlett, I., & Hartwig, K. (2005). 'Hello Hoarseness My Old Friend':

A Case Study of Three Primary Music Specialists. In Celebration of

Voices: XV National Conference Proceedings (pp. 94-100). Parkville,

Vic.: Australian Society for Music Education.

Behlau, M. & Oliveira, G. (2009). Vocal Hygiene for the Voice

Professional. Current Opinion in Otolaryngology & Head and Neck

Surgery, 17(3), 149-154.

Bernstorf, E.D & Burk, K.W. (1996). Vocal Integrity of Elementary

Vocal Music Teachers: Personal and Environmental Factors. Journal

of Research in Music Education, 44(4), 369–383.

Brown, E. P. (2020). Music Teacher Self-Perceived Vocal Health

and Job-Related Stress. Bulletin of the Council for Research in Music

Education, (224), 46-60.

Cambridge University Hospitals (2023). Semi Occluded Vocal Tract

Exercises. Patient Information A-Z.

continued on page 57

Chris White, Chair

I hope you are well, and you and your students had a

successful winter season. Winter weather across our state

added some additional challenges to what is traditionally

one of our busiest times of the year. It’s easy to feel

overwhelmed in the midst of demanding preparations for

high-profile events such as All-District auditions and

clinics, All-State auditions, concert band MPA, jazz band

clinics and festivals, winter ensemble events, business

meetings, and more. While juggling all of this, we often find

ourselves pulled in many different directions. And not just

professionally. Trying to achieve a work-life balance is

increasingly more difficult as, year after year, we are often

required to do more with less.

Spring is a time for renewal. It allows for a well-deserved

break from the activities we navigated over winter. With

luck, you’ll be able to travel with family or friends over

spring break, or just stay home and take frequent naps on

the couch. Whichever the case, I hope you are able to find

abundant time to prioritize you, your family and friends.

Professionally, it is a season to reap the rewards of your

school year efforts. Enjoy the final flurry of concerts with

students performing at their highest level of the year,

awards ceremonies celebrating collective achievements,

and other year-end events allowing us to highlight students

moving to the next stage of their lives. Sometimes, it’s easy

to overlook a simple, but important fact – your students are

in your ensembles because they love making music and

collaborating with each other, and with YOU. You work

hard day after day because you enjoy making music with

them. Please don’t forget why we became music educators,

and enjoy the last opportunities of the school year to make

music and memories with your students and colleagues.

Spring is also a time for change and growth. Our

organization is going through a season of change and

opportunity. Sometimes change is a welcome companion;

other times it causes fear and trepidation. In our fast-paced

world that often feels as though it’s spiraling out of control,

we need to hold onto our founding principles of

communication, collaboration, and trust. NCBA is an

organization created to serve our members across the state.

BAND SECTION

Its officers, committee members, event chairs, and all

others involved, work to make our organization and events

something to be proud of. As we navigate new challenges

and opportunities, I am thankful for the rich tradition of

leadership and service from so many in our organization. I

commit to being as transparent in our work as possible,

and hope you feel comfortable maintaining two-way

communication. I’m only an email, call, or text away.

I encourage you to attend All-State Band weekend. Our

business meeting is on Saturday, May 3, in the UNC

Greensboro music building. All-State weekend affords the

opportunity to watch guest clinicians work, and hear

student musicians performing at a high level. It’s always an

opportunity to gain a new skill or technique. In addition,

the North Carolina chapter of ASBDA sponsors

professional development sessions running concurrently

with the clinic schedule. Directors can attend these sessions

in addition to observing rehearsals and attending concerts.

You don’t want to miss out!

Finally, I urge you to participate in one or more of the

many summer professional development opportunities

sponsored by collegiate and professional organizations

across our state. North Carolina Bandmasters is combining

efforts with the American Music Education Network,

American School Band Directors Association, and NCMEA

to present the Building Better Bands Clinic, June 19 – 20,

at UNC School of the Arts in Winston Salem. Clinicians will

include Dr. Mark Norman (UNCSA), Phillip Riggs (AMEN),

Dr. Kevin Geraldi (University of Illinois), Tiffany Hitz

(Robinson Secondary School; Fairfax, Vir.), Alice Aldredge

(Charleston School of the Arts; Charleston, S.C.) and more!

In addition to other opportunities for social connection,

networking, and mentorship, the Piedmont Wind

Symphony will be playing a concert in the evening for

directors at Incendiary Brewing. From clinics on the nuts

and bolts of teaching high-level musicianship, to strategies

for longevity in the profession, there will be sessions for all

directors and time to recharge and connect with colleagues.

Registration will be emailed and posted on the NCBA

website.


Please take a moment to read about this year’s All-State

clinicians and conductors. I hope to see you there!

Middle School Band – Cheryl Floyd

Cheryl Floyd completed her twenty-fifth

year as director of bands at Hill Country

Middle School in Austin, Texas in May

2017. Prior to that, she served as director of

bands at Murchison Middle School, also in

Austin, for eight years. Musical

organizations under her leadership have

consistently been cited for musical excellence at both local

contests and national invitational festivals. Floyd is

recognized nationally for her educational and musical

achievements at the middle school level. In 1990, her

Murchison program was the recipient of the coveted Sudler

Cup Award presented to exemplary middle school band

programs by the John Philip Sousa Foundation. The Hill

Country Middle School Band performed under her

direction at the Midwest Band and Orchestra Clinic (1998

and 2006), Music For All’s National Concert Band Festival

in Indianapolis (2012), and the Western International

Band Clinic (2014).

Over the past twenty-plus years, she has maintained a

keen interest in commissioning new works for concert band

and has collaborated with such internationally recognized

composers as Frank Ticheli, Cajun Folk Songs,

Shenandoah, Bob Margolis, Renaissance Fair, Dana

Wilson, Sang!, Ron Nelson, Courtly Airs and Dances,

Steven Barton, Hill Country Flourishes, Chris Tucker,

Twilight in the Wilderness, Catherine McMichael, Cape

Breton Postcard, John Mackey, Undertow, Donald

Grantham, Spangled Heavens, a consortium commission

for TMEA’s MS Region 18 by Viet Cuong entitled “Diamond

Tide,” and most recently, “Sparkle” by Scott McAllister. The

works generated by these ongoing projects have been

acknowledged as being among the most significant works

for young band.

In 2003, Floyd was elected to the American Bandmasters’

Association. She is the fifth female member of this

225-member organization and the first middle school band

director to be chosen for ABA membership.

9/10 Band – Dr. Myra Rhoden

Dr. Rhoden serves on the faculty at the

University of West Georgia, where she

conducts the symphonic band and teaches

graduate and undergraduate courses in

music education. She is also the founder of

the Athena Music and Leadership program,

an all-girls music program created to

promote musical excellence while emphasizing leadership

skills (AthenaCamp.com). Recently retired after serving

thirty years as a high school band director in the public

schools of Alabama and Georgia, Rhoden frequently serves

as a guest conductor for state, regional, and university

honor bands and is honored to have presented sessions at

The Midwest Clinic, various national, state and regional

conferences, and for school systems and professional

development events throughout North America. She is the

author of Through My Music: Inspiring the Next

Generation of Leaders, published by GIA Publications.

A native of Tuskegee, Ala., Rhoden was named the

NAfME 2018 National Band Director of the Year, has been

awarded the Outstanding Service to Music Award from Tau

Beta Sigma, the Golden Rose Award from Women Band

Directors International, multiple Citations of Excellence

from the National Band Association, and has been named

STAR Teacher and Teacher of the Year. She had the distinct

pleasure of being a guest conductor for the United States

Air Force Band, the United States Army Field Band of

Washington, D.C., and the Tara Winds of Atlanta. She was

elected to the prestigious American Bandmasters

Association in 2023, is a member of the Phi Beta Mu

International Bandmasters Fraternity, and serves as a

Conn Selmer Educational Clinician. She holds degrees from

the University of Alabama and the University of Southern

Mississippi.

11/12 Band – Dr. Damon Talley

Damon Talley serves as director of bands

and Paula G. Manship Professor of

Conducting at the Louisiana State

University school of music, where he

oversees all aspects of the LSU department

of bands, conducts the wind ensemble and

teaches graduate conducting. The nationally

recognized band department at LSU serves as an integral

component of the thriving school of music. Under his

leadership, the department has established an annual

conducting symposium, high school and middle school

camps that serve hundreds of students annually, and

numerous outreach events for public school educators. The

Golden Band From Tigerland marching band has been

featured at national conferences on multiple occasions, and

most recently, the LSU Wind Ensemble performed at the

College Band Directors National Association national

convention. Talley is a strong supporter and advocate of

music in the public schools. He regularly serves as a guest

conductor, clinician, and adjudicator throughout the

United States and abroad, including engagements in

Germany, Switzerland, England, and Spain.

The LSU Wind Ensemble has released multiple

recordings on the Equilibrium Label and continues to

commission and record new compositions regularly. Talley

has recorded on Best Classical Records and received

favorable reviews from publications including

Gramophone and American Record Guide. He has served

as producer or associate producer on commercial

recordings by the Naxos, Klavier, and Equilibrium record

labels, and is published in the Teaching Music Through

Performance in Band series, distributed by GIA

Publications.

Greetings, collegiate music educators! We are grateful you

are choosing the music teaching profession. We have many

exciting opportunities and resources to share with you,

your advisors, and others involved with collegiate music

education.

We continue to provide opportunities to connect across

our state as we focus on the Blueprint for Strengthening the

Music Teacher Profession, with a major emphasis on

communication and visibility for all stakeholders. We

began the year with our first live chat for chapters and

advisors in January. President Cris Lim and the other state

officers (Annie Pinto, vice president/president-elect; Isaac

Reyes, past president; Mallory Young, recording secretary

and Caleb Todd, corresponding secretary) kicked things off

by introducing themselves and sharing their plans upon

graduation from their respective programs.

Special guests included James Daugherty, NCMEA

Advocacy co-chair; Dr. Debbie O’Connell, Southern

Division representative for NAfME Collegiate; Ben Reyes,

NAfME membership director; and Susan Heiserman,

NCMEA executive director. Attendees had the opportunity

to meet the NCMEA Collegiate state officers, learn about

The Future of Music Education

https://bit.ly/NAfMEMTPI

Challenge

Solution

Challenge

Solution

Challenge

Solution

BEFORE

THE

DEGREE

PROGRAM

Inequitable distribution of

funding, physical resources, and

human resources

Federal policymakers should increase

funding for Titles I and IV-A of the

Every Student Succeeds Act to ensure

students have equitable access to

a well-rounded education that

includes music.

Participation, transportation, and

private instruction expenses

School districts should offer free or

highly subsidized rental programs and

private lessons for students from

low-income families.

Limited curricular offerings

Music educators should create new

courses that engage a wider array of

students.

DURING

THE

DEGREE

PROGRAM

Persistent inequities in how

students are recruited,

auditioned, and enrolled

Higher education should expand

audition/interview requirements to be

more inclusive of diverse ways of being

musical and demonstrating musical

knowledge.

Lack of alignment between

university program content and

professional expectations in PK12

instruction

Higher education should revise music

education curriculum to be more

culturally sustaining, equitable, and

reflective of the needs of schools and

communities.

DURING THE

FIRST 5

YEARS OF

PROFESSIONAL

LIFE

Low teacher pay and professional

expenses (student loan debt,

certification, etc.)

Federal, state, and local policymakers

should position salaries, raises, bonus

structures, tax credits, and other

financial incentives to entice new music

teachers into the field.

Isolation stemming from

geography or being the only

music teacher in a building

State and national music education

organizations should promote the

institution of affinity groups to serve as

safe spaces in which educators’

identities are reflected and open and

honest discourse is fostered.

Lack of funding and time for

meaningful professional

development and mentoring.

State and national music education

organizations should prioritize

programs, professional development,

and conferences for new-career music

educators.

© 2023 National Association for Music Education

Cris Lim, Collegiate Chair

Christie Lynch Ebert, Advisor

COLLEGIATE SECTION

resources and NAfME professional development

opportunities, and complete a needs survey to help make

sure we are serving them in the best ways possible. State

officers shared plans to spotlight local chapters and help

connect chapters statewide through social media.

The March 19 live chat focused on advocacy opportunities

and resources at the state and national levels. It aligned

with Music In Our Schools Month and opportunities for

collegiates to advocate at the state and national levels

through Arts Day 2025 and NAfME Hill Day. Special guests

included: Jazzmone Sutton, senior manager for state

advocacy and equity at NAfME; Nate McGaha, Arts North

Carolina executive director and co-chair of the Creative

States Coalition; Jeremy Tucker, NCMEA Advocacy cochair;

James Daugherty; NCMEA MIOSM co-chairs

Lindsay Williams and Tonya Allison; and Susan

Heiserman.

Both chats and accompanying resources are posted here.

As we plan for November’s NCMEA Professional

Development Conference, we continue our efforts to

connect with other sections and committees, (such as

Mentoring, Young Professionals, Teacher Education,

Advocacy, and the Inclusive Vision for Music Education

committees); promoting national and state resources for

busy college students that you can use now; ramping up

our efforts to communicate and support collegiates through

social media; and sending delegates to North Carolina’s

Arts Day this spring and Hill Day in June.

Please do not hesitate to reach out to us if we can be of

support to you, and be sure to follow Collegiates (both

NCMEA and NAfME) on social media:

Instagram instagram.com/collegiatencmea

Facebook facebook.com/cncmea21

Instagram instagram.com/nafmecollegiateofficial/

Facebook facebook.com/cnafme


by Raychl Smith, Ph.D. &

Jacqueline Secoy, Ph.D.

A Case Study of Popular

Music Teacher Educators

Study Context: Popular Music Education

Popular music includes many styles, and it evolves over time. Modern band is

one approach to teaching popular music that has been gaining popularity in the

21 st century. Modern band is a term used to describe school ensembles that

include popular music instrumentation (i.e. guitar, electric bass, keyboard,

drums, ukulele), incorporate technology to play popular music styles, and

promote songwriting (Powell, 2022). Modern band educators work to create

inclusive classroom spaces that draw on student experiences and ideas (Byo,

2017; Powell, 2021). The teacher is encouraged to act as a facilitator rather than a

direct instructor which leads to an interactive, accessible, relevant, inclusive, and

student-centered school environment (Byo, 2017; Vasil, 2020).

In Popular Music Pedagogies: A Practical Guide for Music Teachers, Clauhs et

al. (2021, pp. 2-3), wrote “popular music pedagogies contain the design, practices,

and approaches of learning popular music, centering on informal learning and

non-formal teaching practices.” Informal music learning approaches are often

used by those who make popular music. Green (2008) outlined five main

components of learning music informally: (1) the learners choose music for

themselves that they are familiar with and that they like; (2) the learners copy

recordings by ear rather than relying on traditional music notation; (3) practice

and refinement occur through self-learning, peer-directed learning, and group

learning; (4) the learners focus on whole, “real-world” pieces of music; (5)

personal creativity is emphasized through the deep integration of listening,

performing, improvising, and composing throughout the learning process.

Incorporating informal music learning practices may seem like a daunting task

for many educators who are steeped in formal learning traditions but including

them in your classroom does not have to be as scary as you might think. In


this article we will explore what K – 12 educators can learn

from music teacher educators who are incorporating

popular music pedagogies into their teaching.

Purpose of the Study

The purpose of this case study was to tell the stories of

three music teacher educators who were incorporating

popular music pedagogies into their curriculum. By doing

this research, we hoped to examine how the participants

perceived their experiences incorporating popular music

pedagogy into their undergraduate and graduate teaching.

Method

Purposive sampling was used to recruit our participants

because the population of music teacher educators who use

popular music pedagogies is relatively small. Data sources

for the project included an individual entrance and exit

interview with each participant, as well as three monthly

journal entries about participants’ teaching experiences.

Each researcher independently coded entry and exit

interviews and journal entries creating a list of first cycle

codes (Saldaña, 2021). We reviewed each other’s notes and

first cycle codes and collaboratively created a list of second

cycle codes which we discussed in detail. These codes were

narrowed down to categories and finally to three final

themes which we used to summarize the results of our data

analysis (Saldaña, 2021).

David’s Voice

My dad was my high school band director, so I grew up in

that tradition. I got a job in East Harlem and was interested

in urban education. It became apparent that many of the

students I was working with were very musical even though

they were not interested in playing traditional band

instruments. In school I had only been prepared to facilitate

ensemble experiences. I was overwhelmed and unprepared

in a lot of ways, but then small things started to happen. I

was able to get a grant for guitars because my school was

underfunded. I started seeing that some of the students who

weren’t participating in class before got excited about music

all of a sudden.

Alexis’s Voice

I remember getting the application to be a modern band

fellow and completing it right away. All my training had

been on the clarinet. I could play three chords on the guitar,

and I really wanted to know how to use the drum kit in the

classroom. As a part of the fellowship, my school received

instruments and I could finally start to incorporate them

into my methods classes. I wanted my students to form an

ensemble because that was so transformative to me, and I

knew it would give them a sense of popular musician

identity.

Moira’s Voice

I attended the modern band summit this year and the

community there was fantastic. Everyone was supporting

everyone else. When I got on the stage I didn’t have to

worry “am I good enough” or “what will so-and-so think of

this?” I think that’s why I am drawn to modern band. I don’t

feel like I have to be great at it. I’m not an expert on all of

these instruments and I’m ok with that. For me, it is all

about getting students started. I feel like I can give them

ideas and hopefully the confidence to go out and teach

popular music. I am way more excited about the process

than about the performance or the final product.

Emergent Themes

Throughout interviews and journals, participants talked

about the importance of building community in their

popular music courses. Participants told us that community

building was at the heart of what they were trying to

accomplish through teaching popular music. Communitybuilding

spilled into every aspect of their careers, from

classroom teaching to presenting and leading conference

workshops. Participants created community by playing

modern band instruments with students in class, giving

students a chance to lead, and allowing students to see their

teacher make mistakes while learning alongside them. They

built tight knit communities that were invaluable when

students began making music in small ensembles together.

Another theme that began to emerge from our two female

participants was that they often performed the behind-thescenes

work of running modern band workshops,

conferences, and classes. In fact, these two women seemed

to be the glue that was often holding workshops together

while someone else was at the front, the one in the

spotlight, or the one receiving all the credit. While planning

was something these two women excelled at and enjoyed,

they found they had to recognize their limits and care for

themselves by setting clear boundaries around the amount

of time they could devote to planning.

All our participants shared how participating in fellowship

with other popular music educators and teaching popular

music in their courses helped them build confidence and

connect to their core selves. Moira shared, “The modern

band fellowship made a difference in my life and the way I

approach making music and thinking of musicians. I feel

like I'm gaining confidence. It's something I believe in, and

so I keep pushing myself.” She explained that some of her

music education alumni had taken teaching positions where

using guitar and digital audio workstations was required or

expected. She said, “That sort of gave me a boost of

confidence. It’s not just me saying this is something we need

to be doing, but teachers are putting it into practice.”

Alexis shared how her confidence teaching modern band

grew from experiences with other modern band teacher

educators. “The fellowship made me feel brave. I've always

loved popular music and felt that had to be kept secret.

Popular music feels like coming home to myself. I still

respect and love classical music, but that's not the core of

who I am.”

In David’s case, his experiences with popular music

pedagogy helped him become a more complete version of

himself. He said, “Modern band allowed me to be truer to

who I am. It allows me to realize who I am in the classroom

and how to be the most authentic version of myself.” Each

of our participants started at a different place of comfort

and experience with teaching and performing popular

music, and found clarity and confidence by connecting with

other popular music educators.

Discussion and Implications

Small ensembles such as modern bands may be ideal for

cultivating community in adolescence (Powell, 2021).

Modern band courses are ripe for building community

because students must have good working relationships

within their bands to be successful (Byo, 2017). Our

participants reiterated they saw community building as the

heart of every class they facilitated. These teachers modeled

their own vulnerability in a way that allowed students to

take risks without the fear of making mistakes.

Our participants stressed taking time to adequately

prepare for new classes and popular music performances

helped them feel comfortable incorporating popular music

pedagogies in innovative ways. One implication of this

study could be that K – 12 teachers need more time to

adequately plan when incorporating new courses such as

modern band into their schools.

David mentioned several times that he could be his

authentic self when teaching popular music. The same idea

may extend to many K – 12 students who feel like they have

found their place in popular music ensembles, which

employ a different set of skills than those used in traditional

large ensembles. Skills such as learning by rote,

improvisation, and comping are valued in popular music

ensembles (Powell, 2021). Students may feel drawn to

performing in popular music ensembles because they

discover their strengths in making music in this way.

The common thread running through all three

participants' experiences was the importance of cultivating

community through popular music ensembles, which can be

valuable to K – 12 and university school communities and

culture (Clauhs et al., 2021). Interacting in a small popular

music ensemble can offer students a chance to build

positive connections and relationships with teachers and

peers in a different context than a large ensemble.

Participants in this study shared how fellowship with other

music teacher educators during modern band training

provided an opportunity to develop confidence and skills

necessary to create thriving popular music communities at

their own institutions. K – 12 teachers may find a similar

community through attending the annual Modern Band

Summit, or events hosted by NCMEA’s Popular Music

committee. Teachers can learn alongside their students

through clinics such as NCMEA’s SoundForge: a Popular

Music Collective for K – 12 student groups. It is through this

rich community that research and pedagogy related to

popular music will continue to grow and thrive in North

Carolina and beyond.

References

Byo, J. (2017). Modern Band as School Music: a Case

Study. International Journal of Music Education, 36(2),

259-269.

Clauhs, M., Powell, B., Clements, A.C. (2020). Popular

Music Pedagogies: A Practical Guide for Music Teachers

(1st ed.). Routledge.

Green, L. (2008). Music, Informal Learning and the

School: a New Classroom Pedagogy (1st ed.). Routledge.

Powell, B. (2021). Addressing Equity and Social Justice in

Music Education through Modern Band: Opportunities and

Challenges. Music Educators Journal, 108(2), 57–59.

Powell, B. (2022). A History of Modern Band and Little

Kids Rock from 2002 – 2014. Journal of Historical

Research in Music Education, 45(1), 111-133.

Saldana, J. (2021). The Coding Manual for Qualitative

Researchers. Sage.

Vasil, M. (2020). The Modern Band Movement. College

Music Symposium, 60(1), 1-3.


by Scott Laird

An Introduction to

Computational Thinking

in the Music and Arts

Classroom

One of the great benefits of teaching at North Carolina School of Science and

Mathematics (NCSSM) and other STEM-focused schools for over 30 years is

interacting with brilliant instructors and practitioners of science, math,

engineering, and other STEM subjects regularly. At NCSSM, we are encouraged

to think interdisciplinarily, and I genuinely enjoy comparing notes with my

esteemed colleagues and incorporating many of their ideas into my pedagogical

approach. In recent years, computational thinking (CT) has become more

prevalent in curriculum development and interdisciplinary pedagogical thinking

throughout the United States. Consequently, it has been a topic of conversation at

NCSSM. Arts educators need to understand the priorities of STEM teachers and

pedagogues as we navigate the complex world of curricular priorities and

pedagogical consistency in public schools. Additionally, a focus on STEM careers

has created a need for arts educators to understand the priorities of students and

parents as these careers increasingly become a focus for college-bound students.

Computational thinking became popular in the computer science education

community in 2006 when Jeanette Wing, the executive vice president for

research at Columbia University, published an essay on the topic in

Communications of the Association for Computing Machinery. In her essay,

Wing suggested computational thinking is a fundamental skill for everyone.

Further, she argued the importance of integrating computational thinking

concepts into other subjects in school. In 2017, a team of scholars in North

Carolina received a $1.25 million grant from the National Science Foundation

(NSF) for the project Principles and Resources for Educators to Infuse

Computational Thinking in The Sciences (PREDICTS). They focused on teacher

preparation, student assessment, and materials development related to

integrating computational thinking concepts into a high school biology and


chemistry curriculum. As a result of their work, they

identified attitudes and approaches to learning that grow

from a strong knowledge and understanding of

computational thinking skills. They went on to identify

technologies, techniques, and tools for integrating

computational thinking into lesson planning. One of those

researchers is my colleague and friend, Robert Gotwals,

chemistry instructor at NCSSM. As an avid music lover and

amateur musician, he approached me to ask my thoughts

on some of the concepts behind the computational thinking

model. I was immediately interested and intrigued. This

conversation evolved into further interaction and resulted

in several conference co-presentations.

Computational thinking is defined as “a way of solving

problems using the concepts of

computer science.” As stated earlier,

these skills can be applied across

many disciplines, including music and

the arts. The primary computational

thinking skills are decomposition,

pattern recognition, abstraction, and

algorithms. These skills can be found

in the music and arts classroom every

day. As music educators, we have

been trained to think computationally

when we practice, rehearse, perform,

and plan classroom lessons or

rehearsals. When music instructors

know and understand these concepts,

they can create a more focused

curriculum and integrate them into

skills-based lesson planning. Music

educators can also use these

definitions and concepts as advocacy

tools for maintaining a robust music

and arts program in the K – 12

academic setting. Let’s look at these

skills and how they relate to music

education and the music classroom.

Decomposition

Decomposition is looking at a large problem and dividing

it into smaller problems. As music educators, we do this in

virtually every lesson we teach. We ask students to look at

multifaceted musical problems and sort out ways to

approach the overall piece of music, which single out more

minor technical and musical issues. Scales, etudes, long

tones, and vocal warm-ups represent decomposition skills.

When approaching a piece of music, we often ask students

to focus only on the rhythm, intonation, key signature,

phrasing, and other musical concepts. Then, students can

efficiently integrate these ideas into the larger musical goal.

Decomposition is an essential skill of all musicians.

Pattern Recognition

Pattern Recognition is another essential skill of all

musicians and a primary learning outcome for students. I

still remember my first violin lessons when I was taught to

play four sixteenth notes and two eighth notes by learning

the phrase “Mississippi Hot Dog” to help me remember the

pattern. Pattern recognition can be found throughout music

and music education. We ask students to learn rhythmic

patterns, key and scale patterns, phrasing patterns,

technique patterns, and patterns of form, to name just a

few. I will never forget learning about the concept of

rhythmic figures in my college jazz band and beginning to

internalize figures as another form of pattern recognition.

Algorithm

An algorithm can be defined as the recipe or step-by-step

process for successfully solving a problem. Again, one of the

primary goals of the music educator

is for their students to look at a piece

of music and know how to approach

the process of mastery. We ask our

students to begin with key and time

signature, then move to notes and

rhythms, followed by phrasing and

musicality. Students who understand

successful practice techniques are

applying an algorithm to their work.

Students of different levels approach

this in various ways. But, we

constantly invite students to think

about the recipe or algorithm for

solving the problem or piece of

music.

Abstraction or Generalization

The fourth skill of computational

thinking is abstraction or

generalization. This is the most

difficult of the four skills to define

fully, but is frequently the one we

find the most joy in teaching. How often do we ask students

to consider the mood of a piece of music or how a piece of

music makes us feel? Abstraction may include composition

or improvisation. I frequently ask students to step back

from the minutiae of a passage and seek out the essence of

the passage. This forces them to see beyond a technique's

difficulty and find a passage's more general (and functional)

purpose. Music and other arts disciplines depend on

abstraction to permit students to individualize the

experience of music making and music consumption.

Evaluation

A fifth skill that is sometimes included in the foundational

skills of computational thinking is evaluation. This is

another crucial element of any music lesson or curriculum.

We must always encourage students to self-evaluate their

performances. We must also teach students the necessary

skills for evaluating their progress, allowing them to hone

their musical skills in the long run.

Some have asked, when does thinking become

computational? These computational thinking skills can be

found in, and incorporated into, music lessons at all levels.

Pattern recognition can be found in music lessons from

early childhood musical skill development through

conservatory training. Decomposition and algorithm

concepts are introduced relatively early in music education.

In some ways, concepts of abstraction can be the most

engaging for the youngest music students.

In addition to the music classroom, these skills are found

daily in art classrooms. Concepts of decomposition, pattern

recognition, abstraction, and algorithm are throughout the

visual arts, theater, and dance classroom. Each of these

disciplines, while unique in its product, incorporates

similar values and skills in their approach to mastery.

Conversations on these topics between arts educators can

be enlightening and empowering, facilitating a greater

understanding of the priorities and methods of our arts

colleagues.

Understanding the concept of computational thinking and

the related foundational skills can be an effective tool in

lesson planning, interdisciplinary thinking, and program

advocacy. When arts educators clearly articulate these skills

and their value to parents, students, and administrators,

MUSIC

TECHNOLOGY

go.ncsu.edu/musictech

BECOME A MAKER

OF MUSIC MAKERS

The Music Technology degree

at NC State prepares students

to develop new technologies for

the music industry and related

sectors by combining rigorous

professional training in music

with intensive interdisciplinary

study in electrical engineering,

computer engineering, design

and arts entrepreneurship.

This is not a program in music

production, sound engineering,

or music editing. Our goal is to

train you to be inventors and

designers of new music

technologies rather than

users of existing technology.

communities realize yet another compelling reason to value

strong music and arts programs in their schools.

Scott Laird, laird@ncssm.edu,

serves on the faculty of the North

Carolina School of Science and

Mathematics, where he is fine arts

chair and instructor of music. Noted

for his innovative approach to

ensemble development and

musicianship, Laird is a frequent

conductor of honor orchestras and is a

sought-after conference presenter. He

regularly performs on acoustic and electric violin and is

known for his abilities in both the classical and

improvisatory arena. He earned his B.S. in music education

and his M.A. in violin performance from Indiana University

of Pennsylvania, where he studied violin with professor

Delight Malitsky. His blog, Thoughts of a String Educator,

enjoys broad readership in the music education

community. In addition, Laird serves as a sponsored artist

and educational specialist for D’Addario Bowed Strings,

Coda Bows, and NS Design Electric Violins.

WHY MUSIC TECHNOLOGY

AT NC STATE?

Technology has evolved to play

a vital role in the music industry.

Our program will help you build

a foundation of theoretical and

practical skills in both music and

the related fields of engineering.

DEPARTMENT OF PERFORMING

ARTS AND TECHNOLOGY

performingartstech.dasa.ncsu.edu

performingartstech@ncsu.edu

@ncstateartstech

@ncstatedance | @ncstatemusic


Jeannine DuMond, Chair

ELEMENTARY SECTION

favorite song tales. Divide students into groups of three or

four and give them a stuffed animal. Ask them to create a

story or song about it and perform it for the class.

For older students, have Battle of the Bands. Students

arrange themselves in groups of four to six students, each of

them with a different instrument. At least one student

creates a melody on a barred instrument or recorder, while

the others create a simple yet interesting rhythm to

complement the melody. My students love this activity.

Above all, be creative and allow your students to contribute

to the lessons. They will be more engaged, and you all will

be invigorated and motivated to finish the year strong.

If you need anything, I am an email away!

Elementary_Section@gmail.com

Follow us on social media:

Facebook: facebook.com/

NorthCarolinaMusicEducatorsElementarySection

Instagram: instagram.com/ncmea_elem/

Connect with your Elementary District Representative:

District 1: Trish Nowlin

Spring is a time for fresh beginnings and renewal. For

most of us, spring cleaning comes to mind. I look forward to

storing away winter sweaters, replacing them with colorful,

lightweight options, rearranging furniture, and changing my

winter family photos to spring and summer photos at the

beach and our travels. Planting flowers, starting a garden,

and cleaning up different areas on my property are on my

to-do list outside my house.

Warmer weather and longer

days motivate me to be

productive and active.

For music teachers, spring

is busy with final concerts

and end-of-year

engagements. Add in field

trips, field days, and EOGs,

and suddenly, our schedules

are disrupted and cause

frustration. This also

pertains to our personal

lives, including our

children's school events.

We’re in the final stretch,

and if we are honest with

ourselves, we are tired.

Spring can suddenly feel

overwhelming and

complicated, anything but a

fresh beginning and

renewal.

So, how do we bring fresh

beginnings into our music

rooms to finish the year? As

educators, we prepare

extensively for the

beginning of the school

year. Attending summer workshops, planning and

scheduling our programs for the year, choosing repertoire,

creating arrangements to accompany literature, writing

lesson plans, and decorating our rooms are a few ways we

prepare to greet our students.

April is a great time to bring that energy and preparedness

from August into our classroom. We need to prepare

physically and mentally for the end of the year. Here are a

few ideas to help you successfully close out your school year.

Spring cleaning, changing out posters and bulletin boards,

and rearranging your classroom will give it a fresh vibe.

April is Jazz Appreciation

Month. Discover jazz

musicians to share with

your students and add a

children's book to

accompany their biography

and music. Let your

students be creative and

create dance moves to

complement the music.

Show them iconic dances

from that era, such as the

Charleston, jitterbug,

foxtrot, Lindy hop, or

mambo. Then, learn one

together. May is Asian

American and Pacific

Islander Heritage Month.

Mrs. Stouffer's Music

Room has excellent books

and resources to celebrate

music in May.

Review previously

learned material by

selecting students to be

teachers for parts of a

lesson. Students can lead

the class in warm-ups,

rhythm, and vocal patterns.

Let them review partner

dances by calling out the dance steps or lead movement

activities.

Stations are another great way to review and can be

student-led. Add beat buddies or stuffed animals to your

Elementary Mini-Conference

A great way to implement new ideas and prepare for the

last weeks of school is to attend the Elementary Mini-

Conference. Appalachian State University and the Hayes

School of Music will host our mini-conference on May 3.

Registration is now open. We offer a discount registration

fee for teachers in Districts 7 and 8. The mini-conference

will have five sessions, and lunch will be included.

$20 Members in Districts 7 and 8

$25 Non-Members in Districts 7 and 8

$40 Members

$50 Non-Members

Free Collegiate

Register now!

uncw.edu/music

June 23 - July 3, 2025

AOSA Approved Levels I and II

Wilmington, North Carolina

UNCW is an EEO/AA Institution.

District 2: Laura Black

District 3: Nancy Stover

District 4: Nancy Blackmon

District 5: Marshall Pugh

District 6: Susan Fogleman

District 7: Andrea Evans

District 8: Cara Henry

Registration due

May 15, 2025

$395 - Level I

$445 - Level II


Certificate

Graduate

Credit

Available

Early Bird Pricing

until

April 1, 2024

I

Summer

On-Campus

Courses

une 17-284

Housing

Available

Music Education Graduate Certificate in Orff-Schulwerk

Enrolling for Summer, 2024

Save the Date!

UNC Wilmington Orff Institute

Graduate

Certificate

UN

AO

Wil

Ju

UNCW

by David Robinson

Building Your Jazz

Ensemble Can’t Be

Improvised

In the summer edition, we ran an article of Tips and Tricks for the school year.

At that time, we did not have space to provide the entire jazz submission, so

published the first three tips . Today, we give you the article in its entirety.

Getting Started

When starting a jazz ensemble, your first task is to recruit students and fill the

ensemble. The standard jazz ensemble has:

• Rhythm Section: piano, bass, guitar, drums

• Saxes: two altos, two tenors, one baritone

• Four trombones

• Four trumpets

When starting a new ensemble try not to turn away any students, i.e. flute

clarinet, baritone, tuba, violin. Many times, students outside the scheduled band

classes will be interested, especially when it comes to the rhythm section. Place an

ad in the school announcements stating you are starting a jazz ensemble. Be

prepared for a majority of interested students to have never played jazz or even

been in an ensemble. Look for a basic knowledge and skill of the instrument.

When starting a program, meet the students where they are. When starting a new

group try not being concerned with limiting your group to standard jazz

instrumentation, i.e. bass parts played on a keyboard, especially since you will

have several students who can play piano. Clarinet can cover a trumpet part.

Set Your Schedule

Set a complete schedule for the entire school year, post it everywhere, and give

the students a copy on day one. Include all rehearsals, concerts and festivals. You

will have fewer concert and festival conflicts if they are scheduled and committed

to in advance. I found more success on Mondays right after school because there

were fewer sports conflicts. If necessary, I would schedule rehearsals before

school, i.e. Tuesday and Thursdays 45 minutes before first class.

The most important thing is to be organized. “Extra” ensembles tend to fail


when organized in a casual manner. Regardless of when you

find the best time is to rehearse, you will never have enough

time. Be efficient, start on time, have equipment, music set

up, and be ready to go. Be flexible… and keep it fun.

Plan Your Music Early

Select music for the entire year during the summer. Pick

three pieces for each concert. Keep them playable and fun.

Things to keep in mind: ranges for the brass, solos/features,

vocal charts, variety of styles. A typical concert program

could be a medium swing chart (blues or changes), vocal

chart, and a latin/rock/funk chart. When considering a

festival performance or adjudicated events, select charts

that will highlight your strengths.

Get help! We can’t be an expert at everything (sometimes

anything), and many music educators are hesitant about

jazz. Bring in someone to help get you started, especially

with literature selection. Use all of your resources, i.e.

college instructors, grad students, local musicians. Do not

concern yourself about ratings or competitions, but stay

focused on learning and growing interest in this music.

Look for events with clinics with the adjudicators. You will

learn something new every performance. It takes time to

develop your knowledge and comfort with teaching jazz.

This is America’s music and it’s so important that we

continue to keep it moving forward.

What if I am new to teaching jazz or

improvisation?

If you do not listen to jazz or have never played in a jazz

band this will probably be the most fun you have had

learning music. Pick-up your instrument and play with the

students. Be a participant in the learning process. If you

normally play the French horn, play the trumpet. If you play

oboe, learn alto sax. Have fun. Enjoy the process and set

your expectations where they need to be. Don’t be

concerned with getting a full ensemble at the beginning, but

just providing the opportunity for those students who really

want to learn. There are tons of apps available for jazz

improvisation. I real jazz is the app my students used; it

provides chord progressions and rhythm sections, and you

can plug it into your speaker and play along with it.

The Sections

Rhythm

Start with the drummer. Start with a swing chart. Select a

medium tempo blues, preferably in B♭. Have them play only

the ride cymbal and hi-hat with the foot, (no bass or snare

drums). Have them focus on just quarter notes on the ride

with an accent on beats two and four. Next align them with

the left foot pedal hi-hat on two and four. They should get

very comfortable with this before we start adding in

anything else. The two eighth notes on beats two and four

should not be added until the quarters are strong and in

control. Hi-hat should be crisp and tight with a strong pop

on each note. This basic swing pattern with ride cymbal and

hi-hat will go a long way in developing a solid swing

throughout the rhythm section and the full ensemble.

Once they are comfortable with the ride and hi-hat,

introduce the snare drum very lightly, first on two four. The

bass drum is the last to add in, and only after they have

control and a solid tempo. First, have them add a feathered

bass on all four quarter-notes loud enough only to help

emphasize the bass player. This needs to be the softest

dynamic they are playing. When they are comfortable with

the limb independence, they can begin to play big accents

that will complement phrases from the snare drum. The

drummer needs to play heads up and listen to everyone.

Encourage them to know the melody, the big accents for the

brass and be able to complement and set them up.

When it comes to solos/drum fills, encourage them to

keep it simple. Limit them to just solos on the snare drum

with simple rhythms. They tend to want to branch out and

play all of the drums. Remind them that whenever they take

a solo or a fill, the volume should not be any louder than the

dynamic they were playing before the solo. Let them have

fun and try all of their ideas, but hold them to the swing.

Bass

If they’re brand new to playing bass or playing jazz, keep it

very simple. Start with a B♭ blues, have them play quarter

notes, using only the roots to the chords. Get them to focus

on good even solid quarter notes with a slight accent on

beats two and four. The focus should be on locking those

notes in with the drummer, specifically with the ride cymbal

and hi-hat. Once they get comfortable with just playing the

roots, they can begin to add diatonic steps between chords.

They should always arrive at the root of the new chord. This

is important for them to learn how to develop their own

bass lines.

Piano

Most of the students have had a few years of lessons and

should be able to read music. However, most of the big

band jazz charts simply give them chords and expect them

to comp (or complement the melody). Piano players should

learn/memorize the chords that are written, usually written

as half and whole notes, and then create their own rhythms

based on the melody and what the rhythm section is doing.

We want to create a web of communication in the rhythm

section.

Guitar

Have them play with a clean sound. No distortion or

effects. With blues/swing, ask them to play short crisp

quarter notes and lock them with the bass player. Have

them play basic chords until they understand more

advanced voicings. Have them listen to Freddie Green, the

guitarist who made the Basie orchestra swing.

Most important, rhythm sections should communicate

with each other. Start with the B♭ blues and encourage them

to memorize the progression. Then they can start to look up

to each other and develop a feel for the section. Keep the

groove tight and clean. Tempo is everyone’s concern. They

need to keep locked in together and working as a group.

You’re going to get a higher quality sound to your chart if

they understand their roles within the section. Students

should listen to as many examples of their instrument

playing blues/swing as possible. Listening will always be the

best teacher.

Saxophones

The biggest problem with saxophones is tuning. When

saxophones play in unison, we have to remember they are in

different keys (E♭ and B♭). The best example is when the

section is playing a concert F. The tenor sax is playing their

G and altos and baritone saxes are playing their D. All of the

D’s and E’s on saxophones tend to be about 15 – 20% sharp,

even after tuning to a concert B♭. They will all need to learn

how to adjust for those notes. I’m going to just leave this

here and move on as opinions will vary. But these unison

lines in the saxophone section always present a challenge.

With articulation, always remember jazz is primarily a

legato language. We should always try to emulate the

human voice. Avoid short staccato notes unless indicated.

Typically, an eighth note followed by a rest will be played

short, but in the middle of a phrase we want to remain

legato unless marked with a specific articulation. We need

to teach the section to listen to the first alto and match their

articulation. A lot of the information you are going to give to

the section will be through the lead player.

Seating from left to right is first tenor, second alto, first

alto, second tenor, baritone sax. We do this to align all of

the “lead” players (first trumpet, first trombone, first alto)

toward the middle of the section. This also places the “solo”

chairs (second trumpet, second trombone and tenor sax)

closest to the rhythm section.

Trombones

Typically, this is the hardest section to fill. Feel free to

cover any and all trombone parts, i.e. tenor sax, clarinet,

euphonium. If you do have a full trombone section, we

typically set them up from left to right: second trombone,

first trombone, third trombone and then fourth trombone.

Like the sax section, lead trombone sets the articulation.

Trumpets

The biggest concern is to be careful about the range of

trombone and trumpet. Feel free to rewrite any part of the

range of your players. The new flex band versions take care

of this for you. The set up is exactly the same as the

trombones, from left to right: second trumpet, first trumpet,

third trumpet and then fourth trumpet. The first trumpet

should be directly behind the first trombone part in

arranging; that’s the way you’ll find the parts lineup first to

second.

Warm-ups

Warm up together as a full ensemble. With a B♭ blues no

chart or book is needed. Use the simplest form of the B♭

blues progression:

B♭/E♭/B♭/B♭

E♭/E♭/B♭/B♭

F/E♭/B♭/B♭

This is a basic 12 bar blues, I always called it the Batman

blues from the 1960s Batman theme. The rhythm section

should focus on quarter notes with accents on two and four.

Winds are going to play whole notes on the B♭ blue scale:

B♭/D♭/E♭/E♮

F/A♭/B♭/A♭

F/E/E♭/D♭

The seven notes of the blue scale eight with the octave will

take up the entire 12 bars leaving you on the minor third

(D♭) on bar 12. This sets you up nicely to go right back into

the chord progression now with half notes, and then quarter

notes. Have the winds also put accents on two and four. End

with a fermata on B♭. Pick a rhythm you want to focus on.

It could be a rhythm from your chart and have them do the

same exercise with that rhythm. Now, ask the drummer to

play that rhythm, and the snare drum player to come in

with that rhythm and start to develop some sense of

listening throughout the ensemble, still keeping the basic

blues progression. Next, have students improvise the blues

scale over the ensemble. Adjust the rhythm and note length

so you can hear the soloist. As your group gets more

comfortable with the basic progression, you can add more

advanced chord progressions. There are unlimited

resources for finding these blues progressions. I would keep

the warm-up consistent, always bringing them back to the

idea that we need to focus on listening to each other and

locking in as a section and as a band.

Lead Sheet vs. Full Chart

Lead sheet is just the unison melody with chord changes

written over the top of the melody. These are great for

students learning new songs and for rhythm sections

learning different chord progressions. A great song to start

with is “C Jam Blues” by Duke Ellington. Just two pitches to

learn. I like to re-write it in the key of B♭. Another more

advanced blues progression is “Tenor Madness'' by Sonny

Rollins. It’s a great chart. The melody outlines the third and

seventh of every chord so it’s a great way to introduce

guidelines to the students.

I received my bachelor’s in music education from

Shenandoah Conservatory. I studied clarinet and only

played saxophone in jazz bands. Improvisation was a

foreign language I did not learn until I started teaching. I

had some fantastic students who challenged me and pushed

me. I’m so glad they did. We had jazz band rehearsals from

6 – 8 on Monday nights. Many times I drove to evening

rehearsals overstimulated and tired, but left energized and

rejuvenated. The kids’ energy drove me to learn more about

this great music. Don’t stress about it. Relax and keep it fun.

It’s a journey not an arrival.


by Jennifer P. Aikey

Extracurricular String

Ensembles

Enriching Your Program

and Engaging Your Community

Durham Fiddlers

In today’s dynamic educational landscape, extracurricular music ensembles

serve as a powerful extension of the traditional classroom experience. These

ensembles offer students opportunities for artistic growth, personal development,

and community engagement while simultaneously enhancing the visibility and

sustainability of school music programs. For string educators, extracurricular

ensembles can be a key factor in nurturing a thriving and well-rounded program.

While many music teachers already dedicate long hours to their ensembles,

adding an extracurricular component might seem daunting. However, when

approached strategically, these groups can yield tremendous benefits with a

manageable investment of time and effort. The Durham Fiddlers, my former

program’s primary extracurricular ensemble, helped my program maintain high

retention rates and facilitated meaningful community engagement. The Fiddlers

were already established when I arrived in 2013, and I was excited to keep it going

with my fiddle background. I knew I enjoyed the styles of music explored in the

ensemble (Celtic, old time, bluegrass, and similar genres), and I understood the

pedagogical support it would provide for my students, but I did not anticipate the

socioemotional impact it would have on my program and the community.

In this article, we’ll explore how extracurricular string ensembles can transform

student learning, build a vibrant musical community, and elevate the overall

impact of a school’s music program. We’ll also provide practical strategies for

starting, sustaining, and growing these ensembles in ways that are both effective

and rewarding.

The Transformative Power of Extracurricular Ensembles

Extracurricular ensembles go beyond standard curriculum requirements,

offering students a space to explore music in a more flexible and personalized

way. These groups provide benefits that extend far beyond musical skills:


1. Showcasing Student Talents and Program Visibility

Extracurricular string ensembles give students the chance

to perform in a variety of settings beyond traditional school

concerts. Whether at local festivals, community events,

school assemblies, or even regional competitions, these

performances amplify the visibility of the program and can

inspire younger students to join. Showcasing student

musicians outside of the classroom reinforces the

importance of music education and strengthens the case for

continued support from administrators, parents, and

community members.

2. Developing Leadership and

Ownership

Unlike curricular ensembles

where direction comes primarily

from the teacher, extracurricular

groups offer students a greater

sense of ownership. In these

ensembles, students can take on

leadership roles such as section

leaders, ensemble coordinators, or

even conductors and arrangers.

These experiences cultivate

teamwork, communication, and organizational skills that

serve students well beyond the music room. A student-led

approach fosters responsibility and a deeper investment in

their musical journey.

3. Exploring a More Diverse Musical Repertoire

One of the biggest advantages of extracurricular

ensembles is the ability to explore music that may not fit

within the constraints of a traditional curriculum. While

Western classical music remains a cornerstone of string

education, extracurricular ensembles provide an

opportunity to branch into other styles such as fiddle tunes,

jazz, pop, rock, film scores, and even hip-hop-infused string

arrangements. Allowing students to engage with diverse

musical traditions not only expands their musicianship but

also makes the ensemble more inclusive and appealing to a

broader range of students.

4. Encouraging Creativity and Improvisation

Unlike traditional orchestral settings where students

primarily interpret written music, extracurricular

ensembles provide a unique opportunity for students to

develop skills in improvisation, composition, and

arrangement. Whether it’s a fiddle jam session, an original

student arrangement of a popular song, or an exploration of

extended string techniques, these ensembles encourage

creativity and innovation. This fosters independent

musicianship, deepening students’ understanding of music

and their ability to express themselves through their

instruments.

5. Fostering Camaraderie and Social Connection

Music is inherently social, and extracurricular ensembles

create a strong sense of community among students. These

groups often form close-knit bonds as they collaborate to

prepare for performances and navigate musical challenges

together. Particularly for students who may struggle to find

a sense of belonging in other areas of school life, these

ensembles can provide a supportive and enriching

environment where they feel valued and connected.

Building a Successful Extracurricular Ensemble

Establishing and maintaining a thriving extracurricular

string ensemble requires thoughtful planning and sustained

effort. However, the rewards far outweigh the challenges,

and with the right approach, these groups can flourish.

Below are some key

considerations for launching and

sustaining an effective

extracurricular string ensemble.

1. Start Small and Seek Student

Input

A successful extracurricular

ensemble doesn’t have to start as

a large, fully formed orchestra. In

fact, beginning with a small,

dedicated group can be more

manageable and allow for organic

growth. Engage students in the

planning process – ask them what styles of music they’re

interested in, what types of performances excite them, and

how they envision their role in the ensemble. Giving

students a voice in shaping the ensemble’s direction fosters

buy-in and enthusiasm from the start.

2. Secure Administrative and Community Support

Gaining support from school administrators, office staff,

and the broader community is crucial for the sustainability

of an extracurricular program. Communicate the

educational and community benefits of the ensemble, and

where possible, align your program’s goals with school-wide

initiatives. Highlighting the ensemble’s contributions

through performances at school events, local festivals, or

even district-wide collaborations can help reinforce the

value of the program and encourage continued backing.

3. Find a Culture Bearer for Unfamiliar Genres

If you plan to explore musical traditions outside of your

expertise, such as bluegrass, mariachi, or jazz, consider

bringing in a culture bearer or specialist who can provide

authentic insights and instruction. This could be a guest

artist, a local musician, or a knowledgeable student.

Incorporating these perspectives not only ensures stylistic

integrity but also enriches students’ learning experiences. It

is essential to gauge student interest in particular genres

and utilize their existing skill sets to create meaningful

musical experiences. By incorporating culturally responsive

teaching and student-centered learning, educators can

ensure repertoire and ensemble structures reflect students’

backgrounds, musical identities, and interests.

continued on page 56

Angel Rudd Cuddeback, Chair

End-of-Year Message to Music Educators

As another school year comes to a close, I want to take a

moment to celebrate your dedication, hard work, and the

impact you’ve had on your students. From daily rehearsals

to performances, festivals, and assessments, your

commitment to music education continues to shape the

future of young musicians across North Carolina.

Right now, we are finalizing our spring concerts and trips

and looking ahead to summer break. I encourage you to

take time to check in with your students and parents,

reflecting on what worked best for your students musically

this year. I hope you and your students were able to

experience some of the wonderful opportunities our middle

school section offers.

This year, All-State was a major undertaking with changes

in both coordination and location. Eric Langer did a

fantastic job ensuring everything ran smoothly at our event

in March. If you weren’t able to attend, I encourage you to

make plans to join us in 2026. Stay tuned for details as

soon as dates are confirmed!

Music Performance Adjudication (MPA) wrapped up in

early April and would not have been possible without the

leadership of Isaiah Cornelius and the dedicated site chairs

who made everything run like clockwork. If you’ve never

taken your students to MPA, I highly encourage you to do

so! The benefits are immense – not only do students hear

other choirs, but you also gain valuable “data” to share with

your administrators. I treat MPA as my End-of-Grade

assessment, but instead of students sitting for hours

MIDDLE SCHOOL CHORAL SECTION

bubbling in answers, they’re actively demonstrating what

they’ve learned. It’s all about growth and progress!

Honors Chorus

Looking ahead, excitement is building for the Honors

Chorus in November, where Victor C. Johnson will serve as

the clinician and will commission a piece for our section. If

you’re looking for meaningful activities for those

unpredictable end-of-year days, working on the Honors

Chorus audition piece with your students is a great option!

The 2025 audition piece is “Hallelujah, Amen” by G.F.

Handel.

Audition dates are as follows:

• West: Monday, September 29

• Central: Tuesday, September 30

• East: Wednesday, October 1

Additionally, in November, our section will hold elections

for secretary, All-State coordinator, Honors Chorus

coordinator, and Student Activities chair. We are also

looking to appoint a website/social media facilitator. This

is a fantastic opportunity to get involved and help lead our

section!

I hope you have a restful and rejuvenating summer. Take

time for yourself, recharge, and enjoy the well-deserved

break. I look forward to seeing you and your students

throughout the upcoming year!


by Jonathan Kladder

SoundForge: a Popular

Music Collective

In the evolving landscape of music education across the United States and the

world, popular music education continues to increase in interest and enrollment

at all levels of PreK – 12 and higher education settings. Currently, there are a

variety of state music education associations (MEAs) who host All-State Popular

Music ensembles, including New Jersey, Florida, Kentucky, and more. In these

events, top musicians from middle and high schools are selected to participate in

an all-day performance-focused event where students work on musicianship

skills, performative arts, and craft their band’s sound.

In contrast to the All-State model, where the top musicians are selected to

attend the event SoundForge: A Popular Music Collective is a newly created event

by NCMEA that is open to all students with a hope to foster collaboration,

creativity, and inclusivity in popular music across North Carolina. NCMEA’s

Popular Music Education Committee (PMEC) created SoundForge in fall 2023 to

be an inclusive space where students, who perform originally composed music on

electric guitars, bass guitars, drum sets, and keyboards in small rock ensembles,

could share their passion for writing and performing popular music. It was the

committee’s hope that this event would support music education more broadly,

while bridging the gap between traditional music education and modern music

education trends across the United States. For more about the work of the PMEC,

check out the article, “Let’s Work Together” (North Carolina Music Educator,

Winter 2024).

Photos by Jonathan Kladder

The Formation of SoundForge

SoundForge was conceived as a response to the growing demand for more

diverse music education experiences in North Carolina. In 2024, the event was

held at UNC Wilmington, where students created and experienced popular music

collaboratively with one another and three clinicians: Ashley Virginia, Mark

Dillon, and Justin Hoke. Each clinician brought a wealth of experience in


songwriting, musicianship skill, and knowledge about

popular music. In 2025, SoundForge was hosted at Catawba

College as students worked with Ashley Virginia, Max

Jacobson, and Jordan Lee.

NCMEA’s PMEC created SoundForge on the principle that

music education ideally reflects a wide range of interests,

cultures, and experiences of its students, therefore making

music more accessible and inclusive. The events encouraged

creativity by allowing space for groups to write and perform

original music within their band with support of the

experienced clinicians. By incorporating popular music into

NCMEA’s range of offerings, SoundForge enhanced

students' technical skills on instruments and connected

them to music that resonated with their personal lives and

cultural backgrounds in a creative and collaborative space.

Key Objectives of SoundForge

SoundForge: A Popular Music Collective was established

with several key objectives in mind.

Inclusive Music Education: One of the core goals was

to provide an inclusive space for students from diverse

backgrounds to create music in collaborative spaces. Using

a student-centered approach, clinicians encouraged

students to connect with music that mirrored their

experiences, cultures, and musical tastes while providing

opportunities to engage with popular musicians from the

music industry.

Performance Opportunities: In addition to its

educational focus for inclusivity, SoundForge sought to

provide performance opportunities for students in ways

that enhanced their understanding of what it means to be a

popular musician on stage. These opportunities allowed

young musicians to showcase their talents in a supportive

and collaborative environment with clinicians who coached

performative aesthetics and audience engagement.

Professional Development for Educators: The

PMEC created SoundForge with a commitment to providing

professional development opportunities for music educators

who are interested in gaining a deeper understanding of

what it means to coach/teach popular music ensembles.

Music educators were encouraged to attend the entire day,

or part of the day, to watch and observe clinicians as they

coached and mentored young popular musicians.

Songwriting: Creativity is an essential attribute of

popular music education pedagogy. It was (and remains) a

central identifier for the event to support student creativity,

where they explored a range of songwriting experiences,

wrote original songs, and received direct feedback from

professionals regarding their songwriting process(es).

Music By Ear: Different from many of the music

education ensemble experiences that currently exist within

the music education profession, the experiences of

SoundForge focused on music creation and performance

from an oral/aural means. Students collaborated with one

another with a focus on trying things out, without the use of

sheet music, tablature, or any form of iconic notation to

enhance their ear and listening skills.

Experiences and Testimonials

The experiences and testimonials of student musicians,

clinicians, and music teachers can support our

understanding of the impact SoundForge had – and

continues to have – on the North Carolina music education

profession. Below are some key experiences and

testimonials from those that participated or attended:

“SoundForge was a fantastic learning experience for me to

delve deeper into my own understanding of songwriting. I

learned right alongside the students by watching an expert

clinician (Ashley Virginia) facilitate the songwriting process

in her own unique way. It was great to see the way Ashley

could take ideas from individual students and assist the

group in weaving together a quick song that represented the

students as a whole. If you are looking for professional

development in songwriting, or popular music making you

can quickly apply in your own classroom, SoundForge is the

place for you!” – Raychl Smith, associate professor of music

Education, East Carolina University

“My favorite part of being a clinician at SoundForge has

been helping students demystify the songwriting process.

Songwriting is an amazing tool of reflection and storytelling.

Formally introducing them to this tool at a young age

empowers students with the skills to express themselves

throughout their lifetime. Some of these students had never

written a song before, and yet by the end of the workshop

they were performing songs that were mere hours old for

their family and friends. Seeing the students realize they

have the potential to be creative has been really satisfying. I

wish this program existed when I was a student!” – Ashley

Viriginia, singer/songwriter and SoundForge clinician

“Seeing a wide range of students from fifth – twelfth

grades come together and share their music with an

enthusiastic audience was

inspirational. Popular music has

the power to bring together student

musicians from a wide variety of

backgrounds and experiences,

which was evident at the

SoundForge event. The songwriting

clinicians offered such thoughtful

and helpful guidance to the

students as they were writing their

songs. The clinicians guided the

students while also leaving space

for the students to express

themselves creatively and

effectively. The student band from

UNC Wilmington also put on an

energetic performance which was

an impactful way to show the

younger students what they can

accomplish if they continue to work hard and hone their

skills to become the best musicians they can be (and have

fun doing it!).” – Andrew Beach, music teacher

“One thing I enjoyed about SoundForge was the

performances from all of the groups and students. They all

sounded really cool and everyone there was so welcoming;

other students enjoyed our performances. It was really the

musical environment I was in that made the experience

really fun. Everyone is nice and welcoming and

encouraging.” – Trey, twelfth grade drummer from The

Prodgex)

“It was rewarding to watch students create and collaborate

during SoundForge. I wish such an event existed when I was

growing up. As a guitarist, it can be difficult to find your

place in K – 12 schools. I think it is an excellent way for all

students to grow their musical identity and voice outside of

traditional music education. I was impressed with what the

students were able to achieve in their arranging, writing,

and performing.” – Justin Hoke, assistant professor of

music, UNC Wilmington

“One of my favorite aspects of SoundForge was witnessing

how students – many of whom likely had little experience

creating music collaboratively – were given the opportunity

to develop leadership skills through music. Rather than

relying on a central conductor to guide them, the students

had to work together, navigating the complexities of group

dynamics to create something cohesive. It was fascinating to

observe just how capable they are; we often don’t give

students enough credit for their problem-solving abilities.

In a modern band setting, everything revolves around

problem-solving – managing personalities, coordinating

logistics, and, ultimately, creating music. These challenges

require students to take ownership of the process, which is

where real growth happens. As someone who has been

teaching modern band for nearly two decades, I’ve learned

that the hardest part isn’t the kids; it’s the adults. The real

challenge lies in getting us, as

educators, to let go of our need for

power and control, and instead

trust the students to do what

comes naturally to them. When we

step back, we often find they’re

more resourceful and creative

than we could have imagined.” –

Mark Dillon, music educator,

singer/songwriter, and

SoundForge clinician

Future Directions for

SoundForge

Looking ahead, NCMEA and the

PMEC intend to offer SoundForge

every academic year to expand its

reach and influence within the

North Carolina music education

community. Some key goals for the upcoming year include:

• Expanding Regional and National

Collaborations: PMEC is seeking to partner with

other state and national music education organizations

to further promote the inclusion of popular music in

classrooms. We would like to showcase the work of

NCMEA and connect non-profit music organizations

and non-NCMEA music teachers with these types of

opportunities.

• Developing a Popular Music Education

Resource Library: With an ever-growing database of

materials on the NCMEA website, PMEC plans to

continue to build a robust online resource hub for music

educators, including lesson plans, instructional videos,

and sample performances.

• Hosting Annual Experiences for Popular

Musicians at Conference: To further support

student and educator engagement, PMEC would like to

support experiences like SoundForge at the Professional

Development Conference in November to bring together

professionals, educators, and students to learn,

collaborate, and celebrate popular music.


As SoundForge continues to grow and evolve, the PMEC

remains committed to the mission of making popular music

an integral part of music education by focusing on

inclusivity, creativity, and community engagement. Further,

we can see by the experiences outlined from artists,

musicians, and clinicians, the collective has already made a

significant impact in its first and second year. With ongoing

support from the NCMEA Popular Music Education

Committee, the PMEC hopes that each year new musicians,

music teachers, and clinicians continue to engage with

music in this way.

Orchestra continued from page 50

4. Schedule Rehearsals Strategically

Balancing rehearsal times with students’ academic

responsibilities and extracurricular commitments can be

challenging, but finding a schedule that works for everyone

is key to long-term success. Consider before-school, afterschool,

or weekend rehearsals, and be mindful of

transportation challenges. If rehearsing outside of school is

too challenging due to transportation, think of ways to

implement these ideas during your classes. Keeping

rehearsals efficient, engaging, and focused will help

maintain student enthusiasm and prevent burnout.

5. Embrace Collaboration and Outreach

Partnering with other ensembles, both within and outside

the school, can create exciting performance opportunities

and expand the ensemble’s impact. Collaborating with the

school choir, band, or theater department on joint projects

can enrich the musical experience for all involved.

Additionally, engaging with community organizations, such

as senior centers, local businesses, or arts organizations,

can provide unique performance venues and strengthen ties

between the school and the broader community.

6. Advocate for Your Program

Extracurricular ensembles thrive when they are valued

and supported by the school and community. Document

and share the ensemble’s achievements through social

media, school newsletters, and concert recordings.

Encourage students to share their experiences and invite

Ways to Get Involved and Stay Connected

Are you interested in connecting with NCMEA’s popular

music education committee? Do you have any students who

might be interested in the types of experiences or events

that NCMEA is hosting across the year? Do you know of any

non-NCMEA members who might find this information

valuable? We encourage you to get involved or send us a

note! Please reach out to Jonathan Kladder

(popular_music@ncmeat.net), co-chair, or Andrew Beach

(popular_music2@ncmea.net), co-chair.

1

Powell, Bryan, Andrew Krikun, and Joseph Michael

Pignato. "“Something’s happening here!”: Popular music

education in the United States." IASPM Journal 5, no. 1

(2015): 4-22.

2

For reference, FMEA’s All-State Collective can be seen

here: https://fmea.org/programs/all-state/popular-musiccollective/

3

For more about NCMEA’s popular music education

committee, readers can see the journal publication here:

https://www.yumpu.com/en/embed/view/

XpqBtjgRkP4inlVD

parents and community members to performances.

Advocacy is essential to ensuring continued funding,

administrative support, and student interest.

Conclusion

Extracurricular string ensembles offer a wealth of benefits

for students, music programs, and communities. These

ensembles create spaces for artistic exploration, leadership

development, and social connection while enhancing the

visibility and sustainability of school music programs. By

embracing creativity, collaboration, and strategic planning,

music educators can unlock the transformative potential of

these ensembles, providing students with meaningful and

lasting musical experiences.

Jennifer Aikey is a Ph.D. candidate

at UNC Greensboro, where she also

holds a graduate assistantship. She

taught orchestra at Durham Middle

School from 2013 – 2023 in Cobb

County, Ga. She received her Bachelor

of Music Education from Augusta

University and her Master of Music

Education from Florida State

University. Her research interests

include factors of music teacher

attrition and retention, incorporating popular music and

eclectic styles into school ensembles, and examining

experiences of neurodivergent music teachers.

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883-C Washington Street

Raleigh, NC 27605

The NAfME Equity Resource Center

for Music Educators and

Music Education Supporters

The NAfME Equity Resource Center is a collection

of Diversity, Equity, Inclusion, Access, and Belonging

(DEIAB) resources to support our members in their

continuing efforts to make DEIAB actionable in the

music education profession. Selections for the Resource

Center include webinars, blogs, journal articles, personal

stories, and frequently asked questions.

Content in the Resource Center will be updated as new

resources become available.

Special thanks to the members of the NAfME Equity

Committee and Equity Leadership Institute for their work

bringing the NAfME Equity Resource Center to life.

Learn more at nafme.org

Questions? Call 1-800-336-3678

or email nafme@nafme.org

58 | NORTH CAROLINA MUSIC EDUCATOR

North Carolina Music Educator Journal Spring 2025

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